Grace Palotta

Montage by Judy Leech. Image on front page: Oscar Asche in Kismetby Alick P.F. Ritchie. National Library of Australia, Canberra.

By the beginningof the twentieth century live theatre in Australia was at the height of its popularity and attendances at both ‘cultured’ and ‘popular’ theatre continued to expand. Both Sydney and Melbourne boasted several central city theatres as well as numerous vaudeville and variety halls. International theatre companies regularly performed in Australia and their principal stars added to the popularity of the productions.

World War I had an initial impact on theatre attendance, but numbers soon returned, perhaps as a distraction from the European conflict, and Australian audiences continued to enjoy a wide range of entertainment. More than 350 different plays were staged in Melbourne alone during the war years.¹

Newspapers, leading magazines and journals responded to their readers’ passion for the theatre and gave it considerable coverage with reviews and commentary and most had dedicated ‘theatre critics’ on the payroll. Increasingly, and of present interest, this theatre copy was punctuated with illustrations by a raft of ‘black and white’ artists who plied their craft to portray theatrical personnel, often in unflattering, humorous caricatures and cartoons.

While a few of the artists had more or less regular arrangements with the press, for most their input to the theatrical theme was intermittent and only one aspect of their freelance work in a highly competitive profession. Without question, these artists were fortunate to be working in a time when cartooning and caricatures came of age and their output was prolific.

No newspaper or magazine in Australia in the early 1900s did more to encourage black and white artists than the Bulletin. It employed some of the finest artists of the time, including Will Dyson, Harry Julius, Hal Gye, Jim Bancks, D.H. Souter, Tom Glover and Mervyn Skipper. The Bulletin was where many cartoonists made their start. However, the Bulletin was not alone in nurturing the growing number of freelance black and white artists; Smith’s Weekly, Lone Hand, Sydney Sportsman, Bookfellow, Gadfly, Clarion, and Critic were some of the publications that regularly printed cartoons and caricatures.

Unlike other sections of a newspaper or magazine where illustrations were usually editorially driven, it is probably fair to say that as these artists were adding pictorial comment to written theatrical reviews—usually an actor or a scene—many of these theatrical caricatures and cartoons were included without editorial direction; the ‘black and whiters’ enjoyed a large degree of artistic independence.

There are too many artists in the black and white school of cartoonists and caricaturists to do them all justice, as such the following represent this writer’s personal favourites.

Many would agree that Australia’s greatest caricaturist was the exceptionally gifted Will Dyson (1880–1938). Arguable, some of Dyson’s best work were the numerous theatrical caricatures he drew for the Bulletin around 1904–10 as the magazine’s theatre cartoonist.

Dyson was acclaimed for the penetrating force of his cartoons and caricatures and saw the pretentious theatre personnel as a target for his acerbic penmanship; although it was once said that while he did not often attack the ladies with his pointed crow quill, he did the ‘wicked deed’ now and again.²

A ‘wicked deed’ perhaps, was Dyson’s 1908 sketch of Lady Dunscombe (Nellie Mortyne) in Jim the Penmanat the Theatre Royal Melbourne, where the lady, a decorative titled visitor of some importance, is portrayed with a rather unflattering figure. More sensitive was Dyson’s portrayal of Arthur Greenaway as the hunched and doddery King Louis XI in the musical The Vagabond King, which was produced by J.C. Williamson Ltd. in spectacular style during 1928–1929.

Will Dyson: A rather unflattering portrait of Nellie Mortyne as Lady Dunscombe in Jim the Penman at the Theatre Royal, Melbourne

Bulletin (Sydney), 17 December 1908, p.9

Will Dyson: Arthur Greenaway as Louis XI in the musical The Vagabond King, 1928

National Gallery of Victoria, Melbourne

Other Dyson works include that of actor Julius Knight playing Sir Percy Blakeney in The Scarlet Pimpernel, performed at Her Majesty’s Theatre, Melbourne—‘a hero whose tigerish nonchalance gives him the aspects of a drugged prig …’—a description which is perfectly captured by Dyson’s caricature.

Another notable caricature shows ‘Norman: The bold bad man of the Bland Holt Co.’ Albert Norman was a leading actor with the Bland Holt Co. for many years and was well known for playing sinister characters. In fact, one review described him thus: Norman ‘is such a villain as he has been many times before, and the sardonic smile of sin on his countenance is the same old smile’.³ Again, a description well captured by Dyson.

A rare survivor, the original artwork for Leave It to Jane, published in Table Talk, demonstrates the use of sepia wash to achieve the tonal contrasts in the published cartoon, and the application of white touch-up to conceal changes.

Will Dyson: ‘Julius Knight in The Scarlet Pimpernel’

Bulletin (Sydney), 5 November 1908, p.9

Will Dyson: ‘Norman: The bold bad man of the Bland Holt Co.’

Bulletin (Sydney), 19 December 1907, p.8

Will Dyson: Original artwork for Leave It to Jane which was published in Table Talk (Melbourne),
17 June 1926, p.27

National Gallery of Victoria, Melbourne

Harry Julius(1885–1938) was another fine caricaturist of the period as well as a most versatile artist—among many pursuits, he was a newspaper cartoonist, writer and illustrator, advertising executive and film animator. But it is his theatrical caricatures for which he is best known—stageland appealed to him as a splendid site for the caricaturist. Julius once remarked that for years he’d had opera glasses on actors with evil intent and it was melodrama and tragic grand opera, not placid modern plays, which moved him as a pictorial satirist.⁴

From around 1907, Julius consistently provided magazines, particularly the Bulletin, with humorous caricatures of performers from across the whole spectrum of the theatre from grand opera to vaudeville and pantomime; his output was prodigious. Julius had the skill of getting fine caricatures in a few lines with unmistakeable portraiture.⁵

There is a wonderful record of some 250 of Julius’ early theatrical caricatures (many of which had appeared in the Bulletin) of most of the prominent stars of the period presented in Theatrical Caricatures, published by the NSW Bookstall Co. in 1912. The book also includes stories on the theatre celebrities by Claude McKay. To view these pen and ink sketches in one collection gives an appreciation of how they would have ‘coloured’ the reviews of current and coming shows which the Bulletin ran in its ‘Sundry Shows’ pages.

One example of Julius’ caricatures includes Annette Kellerman in the glass tank from the Annette Kellerman Show at the Sydney Tivoli. Kellerman was an Australian long-distance swimmer, aquatic and vaudeville performer. Of her Tivoli show it was said: ‘the versatile mermaid has added submarine evolutions, toe dancing and wire walking to an endearing personality, and between them have captured the multitude.’⁶

Another cartoon that appears in the Bulletin illustrates a scene from the light musical comedy High Jinks, produced by J.C. Williamson at Her Majesty's in Sydney in 1915. The Bulletin review, on the same page as the cartoon, noted ‘the fair and willowy Gertrude Glyn as usual looms up in one or two gowns which stun the stalls... C.H. Workman one of the comedians puts up a good plainclothes performance’.

Harry Julius: ‘Annette Kellerman in the glass tank’

Bulletin (Sydney), 16 June 1921, p.42

Harry Julius: ‘High Jinks: Dance Chi-Chi (Gertrude Glyn) and the discoverer of the “High Jinks” perfume (C.H. Workman)’

Bulletin (Sydney), 11 February 1915, p.8

In another, John Coates the English tenor appears as Radames in Aida which played at Her Majesty’s, Sydney. In this caricature, Julius shows ‘John Coates going nobly to his doom, escorted by four stalwart Egyptians. Amneris (Edna Thornton) is grief-stricken’. Of Coates’ performance, the review said, it shows ‘what the portly Yorkshireman can do—when he chooses to exert himself’.⁷

Another cartoon shows a scene from Hamlet at the Sydney Criterion, where Hamlet (Walter Bentley) asks Horatio (W.S. Titheradge) and an inoffensive solder to swear an oath. According to the accompanying review, ‘Walter Bentley has a way of “beefing out” his lines on occasion that compels enthusiasm regardless of the exact meaning of the phrases beefed’.

Harry Julius: ‘Hamlet at the Sydney Cri: Hamlet (Walter Bentley) asks Horatio (W.S. Titheradge) and an inoffensive soldier to swear’

Bulletin (Sydney), 22 July 1909, p.8

Harry Julius: ‘Aida at Her Majesty’s, Sydney: John Coates going nobly to his doom, escorted by four stalwart Egyptians. Amneris (Edna Thornton) grief-stricken’

Bulletin (Sydney), 8 August 1912, p.10

Another prominent black and white artist whose caricatures regularly appeared in the Bulletin during this period was Jim Bancks(1889–1952). His work also featured in Melbourne Punch, Sydney Sun and Sunday Sun. Bancks fame was ensured in particular, with his comic ‘Us Fellows’ which evolved into Ginger Meggs.

Bancks works include Mr Pim Passes By at Sydney Criterion: Ashton Jarry as Mr Pim, ‘only just a passer-by’. Ashton Jarry first came to Australia in 1917 with Ada Reeve and since then performed in several Australian productions. One of his notable performances was as Mr Pim. Jarry also played Count Dracula in J.C. Williamson’s production of Dracula performed at the Sydney Theatre in June 1929.

Jim Bancks: ‘Mr Pim Passes By at Sydney Criterion: Ashton Jarry as Mr Pim, “only just a passer-by” ’

Bulletin (Sydney), 18 August 1921, p. 34

Jim Bancks: ‘Pianist Mischa Levitzki’

Bulletin (Sydney), 9 June 1921, p.14

Other notable caricatures include Mischa Levitzki, the Russian born American based concert pianist who at the Sydney Town Hall was described as ‘the young man with the strong forearms and rubber fingers’ (Bulletin, 9 June 1921), and Scandal at the Sydney Criterion (Bulletin, 26 May 1921) with Kenneth Brampton as Malcolm Fraser, the rejected lover and Maude Hannaford as the heroine, Beatrix Vanderdyke. Hannaford, described as a possessor of good looks, young and ambitious, had quickly become a star of the American stage with successful roles in Redemption and as the leading lady in The Jest.

Oh, Lady, Lady! was one of a number of sensational J. C. Williamson’s musical comedies of the 1920s. The leading lady, Dorothy Brunton was a hit as ‘Faintin’ Fanny a Peel-street pick-pocket; one review said, ‘The New Dot is as impish as the old one was coy and curly’. Her performance is complimented by an outstanding cast, including William Green as Hale Underwood, a man about town.

Jim Bancks: Two characters from the musical Oh, Lady, Lady! at the Theatre Royal, Sydney: William Green as Hale Underwood and Arthur Denton as the detective Cyril Townsley

Bulletin (Sydney), 8 September 1921, p.34 & 15 September 1921, p.36

Continuing with his depiction of stage actors, his 1921 portrait of George Gee in The Lilac Domino perfectly captures the gait of the rubber-legged dancer and comedian.

Of current ‘historical’ significance is Bancks’ cartoon ‘WHEN AT LAST SYDNEY THEATRE RESTRICTIONS ARE LIFTED: Montague Loveslush and his leading lady, Lulu De Vere, the stage’s smartest dressers, present themselves for re-employment’ (Bulletin, 15 May 1919).

This is Bancks’ take on the news on 15 May 1919 that Sydneysiders could go to the theatre again, with their masks off, after months of anti-influenza restrictions.

Jim Bancks: ‘The Lilac Domino at the Sydney Criterion: A goldfish movement by dancer George Gee’

Bulletin (Sydney), 7 April 1921, p.34

Jim Bancks: ‘WHEN AT LAST SYDNEY THEATRE RESTRICTIONS ARE LIFTED: Montague Loveslush and his leading lady, Lulu De Vere, the stage’s smartest dressers, present themselves for re-employment’

Bulletin (Sydney), 15 May 1919, p.36

Hal Gye (1888–1967) was another brilliant black and white artist, principally working in the Bulletin stable, who provided the magazine with theatrical and sporting caricatures and in 1910 replaced Will Dyson as the Bulletin’s theatre cartoonist. Gye drew for numerous other papers and magazines; caricatures of politicians for Melbourne Punch and sporting identities for the Judge, cartoons for the Australian Worker, Vanguard, Referee, Smith’s Weekly, Table Talk and the Sydney Arrow.

Examples of Gye’s Bulletin caricatures include Oscar Asche and Caleb Porter in Count Hannibal at the Melbourne Royal in 1910; the popular Scottish singer and entertainer Harry Lauder on the occasion of his first Australia tour; J.P. O’Neill in the melodrama No Mother to Guide Her at the Princess, 1913; and comedian W.S. Percy as the gaoler in Nightbirds, an adaptation of Die Fledermaus that played at Her Majesty’s in Melbourne during 1912.

Hal Gye: ‘Count Hannibal at Melbourne Royal: Caleb Porter as Father Pezelay [and] Oscar Asche as the Count’

Bulletin (Sydney), 27 January 1910, p.9

Hal Gye: ‘Harry Lauder, at Melbourne Princess’s’

Bulletin (Sydney), 7 May 1914, p.8

Hal Gye: ‘No Mother to Guide Her at Melbourne Princess’s: J.P. O’Neill as Bill Bunce, the bad’un (with a few of his hobbies)’

Bulletin (Sydney), 6 February 1913, p.11

Hal Gye: ‘Nightbirds at Her Majesty’s, Melbourne: W.S. Percy as the Black-Eyed Warder’

Bulletin (Sydney), 28 November 1912, p.10

Mervyn Skipper(1886–1958) became more prominent in the mid to late 1920s with his work often printed in the Bulletin and at one time he was the Melbourne cartoon correspondent for the magazine. Skipper left the Bulletin in 1933 to start his own magazine, the Pandemonium, which ran for 12 issues. Skipper later returned to the Bulletin as the art and drama critic and wrote extensively for Australian magazines including Lone Hand.

Some of his works include The Masquerader at Sydney Royal and The Truth About Blayds, a comedy by A.A. Milne at the Criterion.

Mervyn Skipper: ‘The Masquerader at Sydney Royal: Winnington Barnes as the faithful Brock, and Oliver Bainbridge as Bobby Blessington, a social hack’

Bulletin (Sydney), 10 September 1925, p.35

Mervyn Skipper: ‘The Truth About Blayds at the Sydney Criterion: Irene Vanbrugh and Janet Eccles return from burying a poet’

Bulletin (Sydney), 26 March 1925, p.35

D.H. Souter(1862–1935) had a 40-year association with the Bulletin, with his first cartoon appearing on 23 February 1895. His cartoons were fanciful and loosely described as ‘art nouveau’. Two examples from the Lone Hand magazine are shown below—‘Contralto Dramatique’ and ‘Prima Donna Assoluta.

D.H. Souter: ‘Contralto Dramatique’

Lone Hand (Sydney), 1 July 1907, p.257

D.H. Souter: ‘Prima Donna Assoluta’

Lone Hand (Sydney), 1 August 1907, p.412

Somewhat different in style was Souter’s cartoon announcing the musical comedy, Betty. The musical was produced by J.C. Williamson Ltd. and opened at Her Majesty’s Theatre in Sydney on 22 November 1924. Souter’s sketch shows Edith Drayson (Betty), Field Fisher (Duke of Crowborough), Alfred Frith (Lord Playne), Harold Pearce (Earl of Beverley), Reita Nugent (David Playne) and Harry Wotton (Hillier).

His skill as a black and white artist is also demonstrated by his portrait of Elsie Prince in her role of Judy in the Gershwin musical Lady Be Good, which opened at the St. James Theatre in Sydney on 30 July 1927. The original artwork is in the National Gallery of Australia, Canberra.

D.H. Souter: ‘Elsie Prince as Judy in Lady Be Good’, 1927

National Gallery of Australia, Canberra

D.H. Souter: ‘First Night Impressions (by DHS)’ of Bettyat Her Majesty’s Theatre, Sydney

Country Life Stock and Station Journal (Sydney), 28 November 1924, p.10

Souter, himself, was involved in the theatre and his operetta, The Grey Kimona was staged in Adelaide in 1907. He was also involved with Alfred Hill’s Sydney Repertory Theatre Society.

Tom Glover (1891–1938) was a New Zealand cartoonist who came to Australia in the 1920s and joined the Bulletin in 1922 where his cartoons and caricatures of personalities stamped him as a talented black and white artist.⁸ Prior to this he was cartoonist for the New Zealand Truth and also drew for the Free Lance under the name ‘Tom Ellis’. In around 1925, Glover joined the staff of the Associated Newspapers Ltd. and remained there until his sudden death in 1938.

A good example of his work is his portrait of the theatrical producer George A. Highland, drawn in 1925. Highland came to Australia in 1917 and worked with J.C. Williamson Ltd. He produced Maid of the Mountains in 1921 and many other productions.

Another portrait by Glover was of Tom Clare, the British music hall singer and pianist best known for singing humorous songs. Clare performed in a vaudeville show at the Melbourne Tivoli where it was said he ‘was better when he was less grandfatherly’.⁹

Tom Glover: Theatrical producer George A. Highland, 1925

National Portrait Gallery, Canberra

Tom Glover: ‘Tom Clare, who purveys songs from the piano’

Bulletin (Sydney), 26 March 1925, p.35

In 1925 he captured a good likeness of Allan Wilkie as Malvolio in Twelfth Night. Wilkie and his wife, Frediswyde Hunter-Watts, arrived in Australia in 1914 and worked with Nellie Stewart’s and J.C. Williamson’s touring companies. In 1920, Wilkie established the Wilkie Shakespearean Company, which debuted at Melbourne’s Princess Theatre in September 1920 with Macbeth. The previous year, Glover captured a fine image of showman and cartoonist Bert Levy.

Tom Glover: ‘Twelfth Night at Melbourne Palace: Allan Malvolio Wilkie’

Bulletin (Sydney), 2 April 1925, p.35

Tom Glover: ‘Melbourne Tivoli: Bert Levy, artist, author, journalist, international vaudeville star and good Australian’

Bulletin (Sydney), 18 September 1924, p.35

Ambrose Dyson(1876–1913), another of the artistically talented Dyson family, was essentially a political cartoonist, but occasionally dabbled in theatrical cartoons.

In his cartoon ‘The Tempter’, Dyson combined political and theatrical commentary with a pointed reference on Ada Ward, a former actress who had returned to Australia after ‘finding God’. Ada Ward first performed in Melbourne in 1877 with some success, but after many years performing in London she sensationally left the stage in 1897 to train as a preacher. Ward returned to Australia in 1907 as an evangelist and addressed an audience at the Melbourne Wesley Church on ‘Can an Actress be a Christian’, where she denounced the immorality of the theatre and its ruination of young women.

True to the theatrical theme, another of Dyson’s cartoon was a New Year’s card for 1905 to his theatrical friend the actor manager Bland Holt.

Ambrose Dyson: ‘THE TEMPTER. Miss Ada Ward claims that the actress cannot be a Christian because of the terrible temptations that constantly assail her—AGE.
Dyson’s retort: True, every man in the world will admit that the pretty actress has to encounter fascinations and allurements of which her humdrum stay-at-home sisters can know nothing.’

Bulletin (Sydney), 9 May 1907, p.18.

Ambrose Dyson: New Year’s card to actor-manager Bland Holt, who is depicted tickling the ‘grim old world’ with his cane. Dated 1905.

State Library of Victoria, Melbourne

One of the lesser known Australian black and white cartoonists of the early 1900s is George Dunstan (1876–1946) who drew under the pen name ‘Zif’. Besides the general run of publications, Zif also contributed cartoons to the Sydney Sportsman and the Australian Worker and was chief cartoonist for the International Socialist Magazine. As one of his many attributes, Zif also took to the stage, regularly performing across Australia as a lightning sketch artist, often billed as ‘Chats in Charcoal’.

Illustrative of his style, Zif created a series of cartoons on ‘Suburban Drama’ for the Bulletin in September 1909. One was captioned, ‘East Lynne in the Suburbs’.

George Dunstan (Zif): ‘East Lynne in the Suburbs: Barbara Hare: “Alas! Alas! Why did he pass me over for a baby-faced chit like that?”.’

Bulletin (Sydney), 9 September 1909, p.10

Harry Julius: ‘Zif: The well-known cartoonist, now appearing at the Melrose Theatre. He is the greatest “drawing” card in Australia’

Truth (Perth), 22 March 1913, p.11

Around 1910, Zif produced a series of coloured postcards for the New South Wales Bookstall Co., in their ‘Art Series’. One set of six cards, ‘Theatrical Travesties’ embodied caricatures of ‘theatre types’, a style which typified his work.

George Dunstan (Zif): ‘Theatrical Travesties: The Scalem Dramatic Coy.
LANDLORD: “I want your board money in advance.”
MANAGER: Have you no heart for these poor orphans?”
LANDLORD: Yes, I have a heart, but it takes cash in advance to touch it.”’

Courtesy of Gary Davies

George Dunstan (Zif): ‘Theatrical Travesties: Scene from East Lynne. Owing to circumstances the parts of “Little Willie” and “Francis Levison” had to be doubled.
LITTLE WILLIE: “Why do you cry Madame Vine. I’m not your Little Willie!”’

Courtesy of Gary Davies

Mick Paul(1888–1945), a Sydney cartoonist of the early twentieth century, contributed to the Bulletin, Lone Hand, Comic Australia, Lilley’s Magazine (cover designs) and the Australian Worker. Paul was well-known for his bohemian lifestyle, his socialist views and anti-conscription cartoons and was a foundation member of the Society of Australian Black and White Artists.

Paul’s cartoon, ‘TOO HOT’, offered a social comment on the influenza which devastated Australia around 1919, while ‘NATURALLY’ presents a feminist view on the prevailing gender imbalance in theatre life.

Mick Paul: TOO HOT—The Manager: “This influenza scare doesn’t seem to have made much difference to us—house full every night.” The Star: “No influenza germ could come within a mile of this show – they hate warmth.”

Bulletin (Sydney), 19 December 1918, p.30

Mick Paul: NATURALLY—Flo: “That beast of a stage manager has complained again about us talking on the stage. He wouldn’t do that if we were men.”

Bulletin (Sydney), 7 November 1918, p.30

Bert Levy(1871–1934) described as a clever black and white artist and showman, began his working life as an apprentice scenic artist at the Theatre Royal, Melbourne. A prolific creator, Levy was published in Melbourne Punch, the Mirror, Table Talk, drew cartoons and theatrical caricatures for the Bulletin, was the dramatic critic for the Bendigo Adventurer and cartoonist for the Age, Leader magazine. Levy travelled to America in the early 1900s where he worked for Weber and Fields Music Hall, then the Morning Telegraph while running vaudeville shows in New York.¹⁰

Examples of his work include ‘In a Vaudeville Green Room’, a cartoon which shows several performers waiting in a dedicated space—‘the green room’ before going on stage. Another is of Hugh Ward in The Emerald Isle. Ward was a major figure in Australian theatre as an actor and entrepreneur. He was one time managing director of J.C. Williamson Ltd. and after resigning from that position, formed Hugh J. Ward Theatres Ltd. in partnership with the Fuller brothers.

Bert Levy: ‘In a Vaudeville Green Room’

Lone Hand (Sydney), 1 February 1912, p.299

Bert Levy: ‘Hugh Ward in The Emerald Isle’

Bulletin (Sydney), 28 March 1903 p. 10

Bert Levy: Self-portrait, 1906: ‘As Bert Levy sees himself from the New York Morning Telegraph’

J. Willis Sayre Photograph Collection, University of Washington Libraries, Seattle, USA

By the 1920s, Smith’s Weekly had become the premiere source of cartoons in Australia and unlike other publications their cartoonists were on the pay role, not freelancers. To emphasise this and introduce their staff to the public, the magazine often presented cartoons as composite drawings where all artists contributed; the cartoonists and their characters appeared side by side.¹¹

A variation of the composite cartoon can be seen in the work of, Syd Miller(1901–1983), who joined Smith’s Weekly in 1919 and worked there for some 22 years as a cartoonist and film and stage reviewer.

Miller’s illustrations of ‘Sally in Our Majesty’s’ and ‘Six People Who Make The Flaw’ are examples of his style.

Syd Miller: ‘Sally in Our Majesty’s’, with (from left to right) Hugh Steyne, Gracie Laver, George Gee, Josie Melville (out of and in the kitchen), George Baker, George Lane

Smith’s Weekly (Sydney), 27 January 1923, p.12

Syd Miller: ‘Six People Who Make The Flaw—Mayne Lynton, Frank Harvey, Sheila Helpman, Emelie Pollini, Raymond Lawrence, Nancye Stewart’

Smith’s Weekly (Sydney), 10 February 1923, p. 12

Lance Driffield(1898–1943) was a newspaper and magazine cartoonist and illustrator during the 1920s and 30s, drawing under the pen name ‘Driff’. Driffield started his career as a process engraver and went on to work for the Sunday Times, Truth and Smith’s Weekly.

Typical of his work is the cartoon of Mother Goose which stared Roy Rene and Nat Phillips (‘Stiffy and Mo’), two of the most significant comedians of the period.

Lance Driffield: ‘Mother Goose at the Sydney Hippodrome: Stiffy and Mo try to discover what the Dame would like for supper’

Smith’s Weekly (Sydney), 13 January 1923, p.12

Ray Whiting: ‘Windsor, Edgar and Kellaway, three bright Musical Fellows at the Tivoli Circuit’

Smith’s Weekly (Sydney), 5 April 1924, p.12

Ray Whiting (1898–1975) contributed cartoons to Smith’s Weekly, Table Talk and the Bulletin in the 1920s and 30s and later sketched for the AIF ‘News’ when serving with the 9th Division Camouflage Training Unit in the Middle East during WW2. Arthur Streeton once said his cartoons display a fine decorative sense, good drawing and imagination. ‘Some of the works are weirdly grotesque, and yet they are wickedly like the objects caricatured.’¹²

These qualities are evident in his portrayal of Windsor, Edgar and Kellaway, a brilliant musical trio from the London Hippodrome, and Joe Brennan, Charles Heslop and particularly Oliver Peacock from Mother Goose. Peacock is an interesting figure. He had a long association with the Australian musical stage, playing support roles to Florence Young, Carrie Moore and Dorothy Brunton. Notably, in 1922, he was understudy to Oscar Asche when Asche took Cairo and Chu Chin Chow to New Zealand.

Ray Whiting: ‘Joe Brennan (Mother Goose) and Charles Heslop (Fitzrabbit) in Hugh Ward’s panto, Melbourne Palace’

Smith’s Weekly, 26 January 1924, p.12

Ray Whiting: ‘Mother Goose’s offsider at the Melbourne Palace—Oliver Peacock as Squire Hardflint’

Smith’s Weekly, 26 January 1924, p.12

Alec Sass (Sass) (c.1870–1922) drew for Melbourne Punch and its humorous page between 1896-1912, where he introduced the Sass girl, Sass policeman and Sass johnnie. After working at the New York Journal, Sass joined Smith’s Weekly in around 1921 as an artist and art editor. As art editor he was responsible for teaching staff artists to draw for reproduction on newsprint. Like other Smith’s artists, Sass also drew composite cartoons, a style which is well-illustrated in his cartoon ‘Fooling Around at Fuller’s Panto on a Hot Night’. Another portrait shows an exceedingly stout Oscar Asche in Cairo, which was playing at Her Majesty’s Theatre in Sydney.

Alec Sass: ‘Fooling Around at Fuller’s Panto on a Hot Night’

Smith’s Weekly (Sydney), 7 January 1922, p.10

Alec Sass: ‘Cairo: If Oscar gets any stouter we hope he gets transparent’

Smith’s Weekly (Sydney), 23 September 1922, p.12

Will Donald(1883–1959) was a pioneering cartoonist of the period who contributed to mainstream and socialist newspapers and magazines, including the Bulletin, Quit, Gadfly and the Critic. Donald was one of Australia’s early comic artists.

Examples of his work include a caricature of the Late F.H. Pollock, Lessee Theatre Royal Adelaide. Pollock was an actor and theatre entrepreneur. He acquired the lease of the Royal in 1900 from Wybert Reeve (English actor and impresario) but, following illness, Pollock appointed a manager in his stead. Pollock died in 1908. Interestingly, George Coppin was the first lessee of the theatre.

Another of Donald’s caricatures, published in the Sydney Sun during 1910, depicts Julius Knight and Reynolds Denniston in the romantic drama Henry of Navarre, set in seventeenth century Europe.

His signature profile style is also evident in his caricatures of Victor Loydall and Rupert Darrell in the pantomime Jack and Jill from the Sydney Sun; while his portraits of Oscar Asche and Lily Brayton in The Taming of the Shrew are rare pieces of original artwork.

Will Donald: A caricature of ‘The Late F.H. Pollock, Lessee Theatre Royal Adelaide’

Bulletin (Sydney), 19 November 1908, p.18

Will Donald: ‘Julius Knight as Henry of Navarre and Reynolds Denniston as his faithful watch dog’

Star(Sydney), 13 June 1910, p.7

Will Donald: ‘Victor Loydall as Perks’ and ‘Rupert Darrell as Baron Bounce’ in the pantomime Jack and Jillat the Theatre Royal in Sydney

Star (Sydney), 27 September 1909, p.2

Will Donald: ‘Oscar Asche as Petruchio’ and ‘Lily Brayton “Tamed”’ Drawn during Oscar Asche’s 1909 Sydney Shakespeare season at the Criterion.

National Library of Australia, Canberra

Tasmanian-born Alf Vincent(1874–1915) joined Melbourne Punch in 1895 and a year later he succeeded Tom Carrington as feature artist for the magazine. Vincent joined the Bulletin in 1898 and drew for the magazine until his death in 1915. His style of work was similar to that of Phil May (his mentor) for which he was often criticised by his contemporaries.

Outside the usual run of newspaper and magazine caricatures, Vincent did a fine piece of work in a theatrical souvenir, a pamphlet consisting of twelve sketches (some in colour) of performers in J.C. Williamson’s Comic Opera Co. production of San Toy which premiered on 21 December 1901 at Her Majesty’s Theatre, Melbourne. On the occasion of the fiftieth performance of the show on 8 February 1902, a portfolio of sketches was handed out to every lady visitor.

Alf Vincent: Carrie Moore in the title role of San Toy—“I’m not a littee Boy—I’m a Littee Girl.’ From San Toy: Sketches by Alf Vincent.

State Library of Victoria, Melbourne.

Alf Vincent: Grace Palotta as ‘Dudley’. From San Toy: Sketches by Alf Vincent.

State Library of Victoria, Melbourne

Alf Vincent: ‘Poppy gives Fo Hop a piece of her mind.’ From San Toy: Sketches by Alf Vincent.

State Library of Victoria, Melbourne

Donald MacDonald (Pas)(1862–1945) was one of the finest caricaturists of the early 20th century to freelance his work to several magazines and newspapers in Australia and New Zealand. The scope of his work was not restricted to a particular theme, but he was particularly noted for his caricatures of theatre personnel.

For Sydney Sportsman he contributed studies of well-known theatrical personalities Bland Holt and Julius Grant. Actor-manager Bland Holt, nicknamed the ‘King of Melodrama’, was known for his elaborate stagings of Drury Lane melodramas which he produced at the Lyceum Theatre in Sydney and Theatre Royal in Melbourne. Julius Grant established theatrical enterprises with Bert Bailey and was lessee of King’s Theatre for 15 years. He produced several shows including the record breaking On Our Selection. He also introduced Melbourne audiences to stars such as Oscar Asche and Lily Brayton.

In response to the composer and music teacher Signor Roberto Hazon receiving an address and testimonial from His Excellency the Governor on the occasion of his farewell performance in Sydney, Pas provided a likeness for Sydney Sportsman.

During the 1920s, for Everyone’s, he contributed a sketch of Miss Aylet, ‘Australia’s only trap drummer’ who was performing at Sydney’s Crystal Palace.

Donald MacDonald (Pas): Signor Hazon on the occasion of his farewell to Sydney

Sydney Sportsman, 25 September 1907, p.2

Donald MacDonald (Pas): ‘Julius Grant (Business Manager, Criterion Theatre)’

Sydney Sportsman, 4 December 1907, p.2

Donald MacDonald (Pas): ‘Bland Holt etcetera’, drawn while Holt was performing in the melodrama Women and Wine at the Theatre Royal

Sydney Sportsman,15 March 1905, p.2

Donald MacDonald (Pas): ‘Miss Aylet, Australia’s only trap drummer at the Crystal Palace, Sydney’

Everyone’s (Sydney), 16 July 1924, p.18

Tom Ferry (1891–1954) started his working life as an apprentice with John Sands Ltd. doing lithographic work and before qualifying, he was seconded to work for the Sun newspaper for two years, eventually joining Union Theatres Ltd., drawing and designing posters, advertisements and lobby cards. In the early 1920s Ferry had a casual arrangement with the Sydney Sunday Times to provide weekly cartoons and by 1925 he was the official artist to Fox Films in Sydney.¹³

Examples of his work that appeared in the Sunday Times includes the actors Cyril Gardiner, Frederick Lloyd, Frank Hatherley and Claude Dampier. A drawing he did of visiting English actor Seymour Hicks as Mr William Busby (Old Bill) in the play Old Bill, MP, was published on the programme cover.

Tom Ferry: Frederick Lloyd as Alf in The Man in Dress Clothesat the Sydney Opera House

Sunday Times(Sydney), 29 June 1924, p.24

Tom Ferry: Claude Dampier. who was appearing in revue at Fullers’ Theatre in Sydney

Sunday Times(Sydney), 13 July 1924, p.20

Tom Ferry: Cyril Gardiner in Old Bill, MP

Sunday Times(Sydney), 6 July 1924, p.22

Tom Ferry: Cover of the programme for Old Bill, MP at the Palace Theatre, Melbourne, 20 September 1924, with Seymour Hicks as the title character

Elisabeth Kumm collection

Brodie Mack (1897–1965) combined his cartooning skills with his role as a theatrical business manager. A New Zealander, he initially worked for the Wellington Freelance as a cartoonist before becoming a theatre executive with positions as House Manager for Fullers at His Majesty’s Theatre in Wellington and then with Fullers Opera House in Auckland. Mack later moved to Sydney as Booking Manager for Fullers Vaudeville and Theatre Ltd. He was a founding member of the Society of Australian Black and White Artists in 1924 and did cartoons for Everyone’s, Fuller News, the Bulletin, Aussie, Smith’s Weekly and others.

Examples of his work from Everyone’s included Lee White, ‘the cheerful star of The Girl for the Boy’ at the Sydney Tivoli; and ‘Carter the Great’ (stage name of the American illusionist Charles Carter), who thrilled audiences with his disappearing lion act.

During 1924/24 Mack drew a series of 16 caricatures for Everyone’s titled ‘If Managers Were Artists’. Number 5 in the series depicts JCW theatre manager Tom Holt.

Brodie Mack: Lee White, the cheerful star of The Girl for the Boy, Tivoli Theatre, Sydney

Everyone’s (Sydney), 8 December 1920, p. 10

Brodie Mack: ‘CARTER (not forgetting his lion): The Magic Man at the Sydney Royal’

Everyone’s (Sydney), 16 June 1920, p.11

Brodie Mack: ‘If Managers Were Artists. No.5.’: Tommy Holt, Manager of the Theatre Royal, Melbourne (J.C. Williamson Vaudeville), ‘one of the Leaders of the Tait Navee’

Everyone’s (Sydney), 3 September 1924, p.5

From the early 1900s to the late 1920s the profession of black and white artists was predominantly a male profession, and few women artists were actively involved. There were, however, a number of fine women artists well recognised for their black and white cartoons and caricatures, including Mahdi McCrae, Esther and Betty Paterson, Grace Burns and Ruby Lindsay who were regular but casual contributors to various publications. Later, Joan Morrison and Mollie Horseman were the first women to be employed on the pay roll of Smith’s Weekly.

Typically, the work of these artists, while stylish and amusing, was placed away from the theatrical section of the magazines and appeared randomly throughout, usually as page filler ‘gag’ cartoons or to illustrate ‘women’ stories.

An exception to how the cartoons of women were typically treated was the work of Esther Paterson(1892–1971) who was a student at the National Gallery of Victoria from 1907–1912. A talented artist of street scenes and landscapes, Paterson later applied her skill to commercial art, book illustrating and caricatures/cartoons. Her theatrical caricatures were regularly featured in the Melbourne Punch pre first World War and were prominently featured on the ‘Playgoer’ pages. Her caricatures often featured female performers and her artistic style of her caricatures is markedly different to that of her male contemporaries—her women are more feminine and sensual.

Esther Paterson: Miss Zola Terrill and Ada Reeve

Punch (Melbourne), 7 February 1918, p.37 & 31 January 1918, p.195

Esther Paterson: Maude Fane and Miss Frediswyde Hunter-Watts

Punch (Melbourne), 6 September 1917, p.595 & 12 April 1917, p.595

To be concluded in the next issue.

Endnotes

1. See Elisabeth Kumm, ‘Theatre in Melbourne 1914-18: the best, the brightest and the latest’, La Trobe Journal, No. 97, March 2016

2. Punch (Melbourne), 27 May 1909, p.730.

3. ‘A Life’s Romance’, Bulletin (Sydney), 25 August 1904, p.10.

4. See The Bookfellow (Sydney), 1 July 1913, p.xvii.

5. Lone Hand (Sydney), 1 August 1912, p. 352.

6. Bulletin (Sydney), 16 June 1921, p.42.

7. Bulletin, 1 August 1912, p.10.

8. Argus (Melbourne), 8 September 1938, p.9.

9. Bulletin (Sydney), 26 March 1925, p. 35.

10. See Bert Levy, ‘Bert Levy (by Himself)’, Lone Hand (Sydney), 1 February 1912.

11. Joan Kerr, Artists and Cartoonist in Black and White: The most public art.

12. Argus (Melbourne), 7 August 1934, p.5.

13. See ‘Knights of the Pencil and Brush, No. 3: Tom Ferry’, Everyone’s, 29 April 1925, p.30.

References

‘Black and Whiters IV: Alfred Vincent’, The Bookfellow (Sydney), 1 January 1913, pp. 20–21.

‘Black and Whiters VII: Harry Julius’, The Bookfellow (Sydney), 1 July 1913, p. xvii-xix.

David M. Dow, Melbourne Savages: A history of the first fifty years of the Melbourne Savage Club, Melbourne Savage Club, Melbourne, 1947.

W.E. Fitz Henry, ‘Stories of “Bulletin” Artists’, Bulletin (Sydney), 14 December 1955, pp. 26–28, 32.

Harry Julius, Theatrical Caricatures, with Marginal Anecdotes by Claude McKay, NSW Bookstall Co. Ltd., 1912.

Joan Kerr, Artists and Cartoonist in Black and White: The most public art, National Trust of Australia, Sydney, c.1999.

‘Knights of the Pencil and Brush, No. 3: Tom Ferry’, Everyone’s, 29 April 1925, p.30.

Elisabeth Kumm, ‘Theatre in Melbourne 1914–18: the best, the brightest and the latest’, La Trobe Journal, No. 97, March 2016, pp.6–23, www.slv.vic.gov.au/sites/default/files/La-Trobe-Journal-97-Elisabeth-Kumm.pdf

Bert Levy, ‘Bert Levy (by Himself)’, Lone Hand (Sydney), Vol. 10, No. 58, 1 February 1912, pp. 293–300.

Ross McMullin, Will Dyson: Australia’s radical genius, Scribe, North Carlton, Vic, 2006.

Carol Mills, ‘In Black and White: The little-known Lindsay: Ruby Lindsay’, This Australia, Winter 1984, pp.80-85, available from Women’s Museum of Australia, wmoa.com.au/uploads/the-little-known-Lindsay.pdf

Les Tanner, ‘The Black and White Maestros’, Bulletin (Sydney), 29 January 1980, pp.134–142.

M.G. Skipper, ‘The Art of the Bulletin’, Bulletin (Sydney), 29 January 1930, pp.40–42.

Acknowledgements

Special thanks to Elisabeth Kumm for her advice and comments.

With thepantomime season over, Edwin Geach’s Premiere Dramatic Organisation continued their season at the Palace on Saturday, 16 January 1909 with the drama The Broken Home by Lingford Carson, for the first time in Australia. Though advertisements called it ‘the very latest London and American success’, this seems to be something of an exaggeration. The only noteworthy performance of the play was at the Pavilion Theatre in London’s East End in 1902 where it played under the title The Drama of Life and with different character names.¹

With a somewhat conventional storyline, the plot sees the heroine, Myrtle Denton, tricked into believing that her former husband (a bad lot) is alive. As a result, she forsakes her husband and child. Though it all works out in the end, her son ends up in the hands of slavers and her second husband seeks solace in drink.

Over the past five months Edwin Geach had experienced a run of personal misfortune. In September 1908, his manager Adam Cowan died following a short illness, and in December 1908 his business partner J.F. Sheridan also died. Now it seems he had ‘lost’ his leading man. On opening night Jefferson Taite, who was to go on as the hero of the drama, was injured in a traffic accident. Although he was not badly hurt, he was not fit enough to perform. By chance, Geach met W.J. Montgomery in the street and persuaded him to go on in Taite’s place.

Mr. W.J. Montgomery had not seen it [the script] until half an hour before he came on the stage. And yet he managed to throw so much vigour into the parts that called for it—so much anger into the quarrels, so much fight into the struggles—that the piece hardly suffered. Once in the throes of some awkward passage, with his eyes on the book, he shook his wife’s hand politely when he left her for a minute. But the audience understood. It cheered him again and again during the piece; and called up the curtain for him and the heroine at the end. To read at sight a long part on a first night was a plucky thing to do; and it succeeded.²

Edwin Geach, manager of the Edwin Geach’s Premiere Dramatic Organisation

From Through the Opera Glasses, Sydney, 1909

W.J. Montgomery, who took over the lead role in The Broken Home at short notice

From Through the Opera Glasses, Sydney, 1909

Montgomery was on his way to Tasmania with Harry Robert’s company, so he was unable to remain in the role, and on the Monday night, the part of Harry Denton was assumed by Harry Diver ‘with much ability’. Other roles were played by Nellie Fergusson (Myrtle Denton), with Kenneth Hunter, Thomas Curren and J.P. O’Neill as the chief villains, and Helen Fergus as Mother Flanagan, the child-stealer. The Broken Home played to capacity audiences until the 29 January.

The final week of the season saw a revival, ‘by special request’, of A Modern Adventuress, for four nights, and East Lynne for the last two nights.

On Friday, 5 February, a Grand Complimentary Matinee was tendered to Harry Diver by Messrs Geach and Marlow, with principal artists from all the Sydney theatres participating. Harry Diver performed a ‘powerful dramatic sketch’ with his wife, Helen Burdette.

Saturday, 6 February saw a performance of Flotow’s opera Marthaby the Mosman Musical Society, under the baton of A.H. Norman.

The Sydney Muffs returned on 11 and 12 February with Romeo and Juliet. Romeo was played by Mr. Cam Marina. Juliet was performed by Sara Collins on the first night and Elsie Prince on the second night. The cast included the special engagement of Clara Stephenson (Mrs. Henry Bracy) as the Nurse. The Muffs would return, on Friday, 12 March, with As You Like It, with Elsie Prince as Rosalind. As You Like Itwas repeated on the Saturday matinee, and Romeo and Juliet was performed in the evening with Sara Collins again as Juliet.

Beatrice Holloway, leading lady with Meynell and Gunn’s company

State Library Victoria, Melbourne

John Gunn of Meynell and Gunn, who died suddenly on 20 October 1909, aged only 39

From Through the Opera Glasses, Sydney, 1909

Meanwhile, on Saturday, 13 February, Clyde Meynell and John Gunn took over the lease of the theatre. They opened their season with the first Sydney production of The Old Folks at Home by J.A. Campbell, first performed in England in 1907. Campbell was also the author of The Little Breadwinner, performed by the M&G company in Perth and Melbourne during 1908, but yet to reach Sydney.

The cast for The Old Folks at Homewas headed by Beatrice Holloway and Conway Wingfield. In a title suggestive of the 1851 Stephen Foster song, the play, a story of the ‘old South’, featured a special musical number performed by the children of the ‘Tin Can Band’ (originally featured in The Fatal Wedding), including Little Queenie Williams with a ‘coon melody’ and Maggie Dickinson with a ‘banjo song’. This play had first been performed by the Meynell and Gunn company during their New Zealand tour (September 1908) and had been given its Australian premiere in Hobart (November 1908).

The Old Folks at Home proved popular with Sydneysiders and held the stage until Tuesday, 9 March.

In the months that followed, Meynell and Gunn made final arrangements for what was publicised as ‘the most important theatrical event in the history of Australia’: the tour of Oscar Asche and Lily Brayton and their entire London company. Sadly, two and a half weeks into the opening season, on 20 October 1909, Oscar Asche announced from the stage of the Criterion Theatre, the cancellation of the performance due to the unexpected death of John Gunn. He was only 39 years of age. A nephew of the celebrated Dublin-based theatre manager Michael Gunn, he had first visited Australia with comedian J.L. Toole’s company in 1890. Returning to England, he worked for Richard D’Oyly Carte in London, and during 1894/95, managed the London and New York stagings of W.S. Gilbert’s His Excellency. Thereafter he worked as stage manager for George Edwardes, and in 1904 he returned to Australia as General Manager on behalf of Herbert Beerbohm Tree, with The Darling of the Gods and other plays starring Julius Knight and Maud Jeffries. In Australia, in 1905, he partnered with Clyde Meynell to produce The J.P. with J.J. Dallas and Florence Lloyd. The following year, they presented the highly successful drama The Fatal Wedding. Since March 1908, Sir Rupert Clarke and John Wren had joined Meynell and Gunn as joint directors.

The following week, on Wednesday, 17 March, for five nights only, Charles MacMahon and E.J. Carroll presented a short return season of their latest attraction, the film-version of For the Term of His Natural Life. This was the first of many motion pictures based on the Marcus Clarke novel. Filmed over four months in early 1908, it comprised a collection of highlights from the novel, beginning in England with the wrongful conviction of Rufus Dawe of murder, his transportation to Van Diemen’s Land, his escape, his reunion with his long-lost sweetheart, and their deaths when the boat they are in sinks during a storm. Following a private viewing at the Standard Theatre in Sydney on 18 June 1908, the film toured throughout the states, beginning at the Adelaide Town Hall on 4 July 1908 (under the direction of J. & N. Tait). It reached Sydney in August 1908 where it enjoyed an eight-week season at the Queen’s Hall. The bill at the Palace was augmented by the addition of other short films being screened for the first time.

1908 tour program. National Library of New Zealand.

On Wednesday, 24 March, Leo, Jan and Mischel Cherniavski commenced a short farewell season as part of their British Empire Tour, under the direction of Edward Branscombe. Described as the ‘Russian Wonder-Children’, the brothers played violin, piano and ‘cello respectively. They performed works from the classical repertoire, including Bach, Liszt, Grieg and Schubert, with a complete change of program each evening. In addition, the contralto Madame Marie Hooton and the baritone Mr. Percival Driver, also appeared.

The theatre remained dark for a few nights pending the appearance of The Dudley Dramatic Club on 1 and 2 April. The company performed a new four act comedy-drama, A Secret Weddingby Joseph L. Goodman, for the first time on any stage. Joseph Goodman was a manager for Spencer at the Sydney Lyceum and brother of George L. Goodman, business manager at Her Majesty’s Theatre in Sydney. The piece was well received, notably Harry Whaite’s fourth act set which depicted the Thames at Maidenhead. Reviewing the play, the Sydney Morning Herald (2 April 1909, p.8) noted:

The new piece, though evidently the work of a clever man, suffers from a want of homogeneity, the first half of it taking the form of a drawing-room melodrama, and the second half of sentimental comedy. The latter portion was the better written, containing more than one pretty love-scene.

Included among the cast of players were two interesting names: Nellie Wilson and Harald Bowden. The first performed with Pollard Juvenile company as a youngster, and the second would become a senior director of J.C. Williamson Ltd.

Allan Hamilton, a popular theatre manager. Photo by Alice Mills, Melbourne.

From Stage Annual 1906

George Cross, leading man with Allan Hamilton’s company. Photo by Ruskin Studio, Melbourne.

State Library Victoria, Melbourne

From Saturday, 3 April, Allan Hamilton took up the lease of the Palace launching his new dramatic company in a seven-week season. The leads included George Cross, G.P. Carey, Ada Guildford and Maud Chetwynd. George Cross and Ada Guildford, formerly with William Anderson’s company, were husband and wife. They married in 1905 following a sensational divorce, when Ada’s former husband, William Mount, sued her for ‘misconduct’ with Cross. Sensation on stage and off!

The company opened with the first Australian production of Queen of the Night. Described as a ‘Romantic Sensational Drama of Exceptional Power and Interest’ by F. Thorpe Tracy and Ivan Berlin, the play, first performed in England in 1897, told the story of a bigamous adventuress.

Ada Guildford as the Queen of the Night. Photo by Talma, Sydney & Melbourne.

From The Bulletin, 18 March 1909, p.9

Maud Chetwynd. Photo by Talma, Sydney & Melbourne.

From The Bulletin, 25 March 1909, p.9

The cast included Ada Guildford as Pauline, the adventuress; George Cross as Ralph Featherstone, a man of ‘sterling qualities’ who falls into the clutches of the ‘Queen of the Night’; and Wilton Power as the villainous first husband. During the second act, Maud Chetwynd sang a ‘couple of catchy songs’, including, for the first time in Australia, ‘Who’s for England’ composed by Frank Eugarde, with words by W.T. Goodge. The play featured elaborate scenery by Harry Whaite, and spectacular mechanical effects including a storm and a train at full speed.

Queen of the Nightwas performed until 23 April. It was replaced by a revival of In the Ranks. A stirring military drama by G.R. Sims and Henry Pettitt, first performed in the UK in 1883 (and in Australia in 1884), it was anticipated that it would ‘come out as almost a new work to the present generation of playgoers’. Presented by arrangement with George Rignold, who produced and starred in the first Australian production, the lead roles of Ned Drayton and Ruth Herrick were played by George Cross and Ada Guildford. Harry Whaite’s scenery was praised for its beauty, particularly his tableau of Dingley Wood by moonlight, and although the stage resources at the Palace ‘could not quite furnish one of the great productions which George Rignold used to provide in the palmy period of his rule at Her Majesty’s … the whole thing was surprisingly well done on the smaller stage’.³

In the Ranks was played until 11 May. A Message from Mars was revived for the final two nights, with George Cross as Horace Parker, Wilton Power as The Messenger from Mars, and Rosemary Rees as Minnie Templar.

Elsie Prince, a popular amateur actress with the Sydney Muffs, not to be confused with the 1920s English musical comedy actress

Selection of theatre ads from The Bulletin, 29 April 1909, p.27

On Saturday, 1 May 1909, at the matinee, a performance of Out on the Castlereagh was performed by J. Clarence Lee’s Australian Company. Written by Lee, this new play, ‘a story of Australian country life’ was well received, with the Sunday Times (2 May 1909, p.2) observing that ‘the varying types and scenes and incidents of the bush are well worked out, and were very creditably acted by the artists engaged’. The cast was made up of members of the Playgoers Dramatic Club, including Reginald Goode, Lilian Booth and Sidney Buckleton. An enthusiastic audience packed the theatre, and in response to demands, it was restaged at the Royal Standard Theatre for a further five performances from 31 May. It seems the Playgoers Club had been founded by Lee in 1908 and in an interesting aside, the secretary was Agnes Chambers, sister of the playwright Haddon Chambers, and she also conducted the orchestra. Lee would return on 18 September with his play The Marrying of Ma, which he also directed, first performed at the Palace back in 1906. The cast included Lilian Booth, Reginald Goode, and Elsie Prince of the Sydney Muffs.

From Saturday, 15 May 1909, West’s Pictures returned for the winter season, with new films screened every week.

George Marlow, said to be Australia’s youngest theatrical manager

Author’s collection

Generic postcard for Frederick Melville’s Married to the Wrong Man, featuring a scene from the UK production

After four months of films, melodrama returned to the stage of the Palace when George Marlow’s dramatic company commenced their season on 25 September 1909. They opened with the sensational Married to the Wrong Man by Frederick Melville.

Edwin Geach had recently sold his interests to Marlow, and as such the company now bore his name, making him, at 33 years of age, the youngest theatrical manager in Australia. He had re-launched the company in Adelaide during August/September 1909 when Married to the Wrong Manwas given its Australian premiere.

The company included many old favourites and some new faces. Nellie Fergusson and Kenneth Hunter played the lead roles of Ruth and Captain Gladwin, while J.P. O’Neill appeared as Jasper Skinner, with Hilliard Vox, making his first appearance in Sydney, as Captain Deering. The plot revolves around Ruth, the heroine, who, forced to marry a man she does not love, is eventually sold to another man, and finally accused of murder. The play ends with a dramatic trial scene at the Old Bailey.

Married to the Wrong Man played proved a crowd-pleaser and played until 29 October. Notching up five weeks, it set a record for any one piece of melodrama at the Palace, auguring well for Marlow’s venture into management.

East Lynne was revived for the final week of the season, from 30 October to 5 November.

Marlow’s company then left for a short tour to Mugee and Newcastle. During their absence, Edward Branscombe’s Scarlet Troubadours began a two-week farewell season prior to their return to England. The ‘merry costume entertainers’ opened on 6 November 1909 with ‘new music scenas, travesties, and humorous sketches’. Since they last appeared at the Palace, the line-up had been reinforced by the addition of Gertrude Parker (soubrette) and Claude Leplastrier (art humourist), while Maude Fane and Edgar Warwick were warmly welcome back.

The 20 November saw George Marlow’s company back in residence, having returned from a brief tour of country NSW, bringing with them another new melodrama, The Heart of a Hero by Lingford Carson. Advertised as the ‘Story of a Woman’s Sorrow and a Man’s Devotion’, this piece contained the usual ingredients of melodrama: abduction, murder, arrest of an innocent girl, the self-accusation of the hero, and a dramatic prison escape. Edwin Geach’s company had been performing it throughout New Zealand and Australia since May 1908, and this was the first Sydney production. The principal roles were performed by Kenneth Hunter (Jem Resdale), Nellie Fergusson (Nell Resdale), Hilliard Vox (Wilfred Marle), and Ethel Buckley (Susie Slack).

The Heart of a Hero was performed until 3 December.

This was followed on 4 December, for the first time in Australia, The Wedding Ring, a ‘great military and domestic play’ by Ben Landeck, presented in sixteen tableaux painted by scenic artist Ray Phillips (brother of vaudevillian Nat Phillips). With a story of love, conspiracy and revenge, The Wedding Ring proved popular, particularly the railway smash ‘in which the collision is vividly shown, with the wreckage and subsequent sufferings’.⁴ The cast included Nellie Fergusson as the heroine, Kenneth Hunter as the hero, and Hilliard Vox as the chief villain. To promote the show, Marlow distributed ‘ten thousand gilt wedding rings (packed in little boxes)’. As indicated by a notice in the daily papers, the gold ring sent to him as a memento of the original London production was mistakenly given away among the souvenirs. A £5 reward was offered. A reward was still being offered when the play reached Adelaide in February 1910, but the finder’s fee had been reduced to £2.

From The Daily Telegraph, 4 December 1909, p.2

The Wedding Ring played until 17 December. Married to the Wrong Man was revived, 18–21 December. And East Lynne saw out the season, being playing for two nights on 22 and 23 December.

Marlow’s first season as manager of a company was a huge success, with suggestions in the press that he would need ‘a specially armoured train’ to cart away all the gold he had made. And to ensure his continued success, Marlow had purchased new dramas from England, and ‘is building up a fine repertoire for his Sydney and Melbourne audiences’.⁵

Hugh J. Ward, funny man and manager, 1909

Australian Performing Arts Collection, Art Centre Melbourne

Grace Palotta, popular leading lady and postcard beauty

Courtesy of Bob Ferris

The year ended with the first appearance of Hugh J. Ward’s company (under the auspices of Allan Hamilton), bringing with them the much-anticipated comedy A Bachelor’s Honeymoon. The piece had its Australian premiere in Perth in May 1909, the troupe having toured India and China with much success. Thereafter, the play had been seen in Melbourne and New Zealand, prior to reaching Sydney at Christmas time. It had first been performed in New York in 1897 at Hoyt’s Theatre, with Max Figman, M.A. Kennedy, W.J. Ferguson, Isabel Waldron, Berenice Wheeler and Eleanora Allen as the key mirth makers.

At the Palace, A Bachelor’s Honeymoon opened at the matinee on 27 December to a packed holiday audience. The story involved the misadventures of much married widower, Benjamin Bachelor, who wishes not only to keep his former marriage from his new wife, an actress, Juno Joyce, but also keep his family, including his two grown-up daughters, ignorant of his betrothal. The company boasted a ‘brilliant’ line-up, with Hugh J. Ward as Benjamin Bachelor, Grace Palotta as his new wife, Celia Ghiloni as his sister, Ruby Baxter and Florence Redfern as his twin daughters, and Rose Musgrove as Marianne, the maid. Other characters were filled by Robert Greig, Arthur Eldred, H.H. Wallace and Reginald Wykeham. A Bachelor’s Honeymoon played until 11 February 1910.

To be continued

Endnotes

1. According to Allardyce Nicoll, The Drama of Life by Lingford Carson was given a copyright performance at the Colosseum, Oldham on 21 March 1901; it was first performed at the Prince of Wales’s Theatre, Mexborough, 27 July 1901; and given its first London production at the Pavilion Theatre, 4 August 1902. It was later called Undamaged Goods. I have not been able to find reference to it being performed in the USA under any of these titles. Interestingly, when the Geach company performed the play in Adelaide in August 1909, it was under the title: The Drama of Life; or, The Broken Home.

2. Sydney Morning Herald, 18 January 1909, p.3

3. Sydney Morning Herald, 26 April 1909, p.3

4. Sunday Times, 12 December 1909, p. 2

5. Sydney Sportsman, 15 December 1909, pp.2 & 3

References

T.D.M. de Warre, Through the Opera Glasses: Chats with Australian stage favourites, Sydney, [1909]

Allardyce Nicoll, English Drama 1900–1930: The beginnings of the modern period, Cambridge University Press, 1973

J.P. Wearing, The London Stage, 1900–1909: A calendar of productions, performers, and personnel, 2nd edition, Rowman & Littlefield, 2014

Newspapers

The Bulletin (Sydney), The Daily Telegraph (Sydney), The Sunday Times, Sydney Mail, The Sydney Morning Herald, Sydney Sportsman

Trove, https://trove.nla.gov.au/

Pictures

Australian Performing Arts Collection, Arts Centre Melbourne

National Library of Australia, Canberra

National Library of New Zealand, Wellington

State Library of New South Wales, Sydney

State Library Victoria, Melbourne

With thanks to

John S. Clark, Judy Leech, Rob Morrison, Les Tod

With thearrival of Hugh J. Ward’s company, Ward was heralded as ‘A New Australian Manager’. Since his first appearance in Australia in 1899, as a member of the Hoyt-McKee company, American-born Ward had proved a popular actor and dancer, and his shift to management was a welcome move. In 1906, in association with George Willoughby, his English company had undertaken an eighteen-month tour of Australasia with the comedy The Man from Mexico. Having returned to London in 1908, he organised his own company, touring India, Burma, China, and the Straits Settlements. An article in Sydney’s Daily Telegraph (1 January 1910, p.6) noted:

In the tour in the East, just concluded, he was his own financier and manager; his knowledge of stage craft and long experience of the theatre enabled him to direct the production of his plays; and in the ultimate result, the box office receipts showed that the venture was, in a pecuniary sense, thoroughly successful. So far as the artistic merits of the productions are concerned, Sydney audiences who are enjoying the brisk acting of a talented, all-round company in “A Bachelor’s Honeymoon” will have but one opinion.

The Company’s first offering, A Bachelor’s Honeymoon, kicked off the 1909 Christmas season at the Palace, playing for a jolly six weeks. It was followed on 11 February 1910 by VIvian’s Papas, a farcical comedy by Leo Ditrichstein, that was described as a twin to A Bachelor’s Honeymoon on account of its ‘mirth-provoking qualities’. Vivian’s Papas had received its Australian debut during Hugh J. Ward’s initial Perth season, where it played several nights at the Theatre Royal from 12 June 1909.

Members of the Hugh J. Ward company on tour in the East. Hugh Ward is in the centre, with Grace Palotta to the left. From The Mirror, 21 May 1909, p.15.

Ditrichstein’s farce had premiered in New York in August 1903. The principal roles were played by Hattie Williams as Vivian Rogers, an actress who attracts the attention of two admirers or ‘papas’—Chester D. Farnham and Frederick W. Walker—played by comedians John C. Rice and Thomas A. Wise. In this production, the role of Alice Farnham, Chester’s wife, was played by Esther Tittell, a sister of actress Tittell Brune. Mixing comedy, drama and song, the play’s big attraction was a Wagnerian/grand opera spoof set against a realistic fire scene.

At the Palace, Grace Palotta had the titular role, renamed Vivian Gay, with Arthur Eldred and Hugh J. Ward as the two papas. As the piece contained several songs, tenor Walter Whyte was specially engaged to play one of the singing firemen; W.B. Beattie, another singer formerly with Williamson’s Royal Comic Opera Company, played the role of Edouard Pollak, a singing teacher. Ward’s wife, Grace Miller Ward (who would go on to establish herself as a noted Sydney-based singing teacher) paired with Whyte for the operatic fire scene. Maud Chetwynd (previously seen at the Palace with Allan Hamilton’s Dramatic Company in 1909) played the small role of Carrie the housemaid.

The fire scene provided an exciting climax to the play’s first act, with the Sydney Morning Herald (13 February 1910) observing: ‘Machinery recently imported from the United States provides a remarkable illusion, and it is hard to believe that the stage is not a mass of flames.’

From Table Talk (Melbourne), 1 July 1909, p.21. Author’s collection.

Vivian’s Papas played for just a week, closing on 18 February 1910. With the end of the season fast approaching, The Fencing Master (for the first time in Sydney) and The Man from Mexico(first introduced during the 1906 Willoughby-Ward tour), were performed for a week each. The first named play was a far cry from the antics of the two former plays. It was a serious drama, which provided Ward with the opportunity to show his versatility as an actor. A comedy-drama in three acts by Herbert Hall Winslow, the play was described by Ward as ‘one of the most beautiful and interesting plays I have ever had or seen’.¹ Ward played the title character, Angelo Rossi, an Italian nobleman who has emigrated to New York after killing a man in a duel. When his son seeks to marry a young lady (Grace Palotta) of an upright family, the father of another man (W.B. Beattie) also after her affections, recognises Rossi as the man in the duel, thereby jeopardising the son’s chances of a good marriage. 

Hugh Ward at the Palace, as seen by cartoonist Harry Julius

From The Bulletin (Sydney), 24 February 1910, p.8

Hugh Ward and Grace Palotta in The Man from Mexico, 1906. Photo by Talma, Sydney & Melbourne.

Author’s collection

The Fencing Master had received its premiere by Ward’s company in Calcutta in April 1909. According to Variety (May 1909), it ‘established a record for an opening of an American piece in point of distance from Broadway’. The same article noted that the play had been handed over to Ward without a title and ‘The Fencing Master’ had been selected by the players. It is not clear if the play was ever produced in America as the title had already been assigned to another work—Reginald de Koven’s 1892 opera—and would have been given another name. The piece received its first Australian outings in Perth in June 1909 and in Melbourne in August 1909.

The Man from Mexico, the comedy by George Broadhurst, that was the hit of the 1906 Willoughby-Ward season, brought the company’s Palace season to a close. Hugh Ward repeated his success as the ‘picturesque liar who talks about his adventures in Mexico so as to account for his absence from home while he has been serving a sentence in gaol’.² The audience demanded repeated encores of his song ‘Nobody’ (written by Alex Rogers, with music by Bert A. Williams, and first published in 1905). Grace Palotta and Reginald Wykeham reprised their roles, along with Celia Ghiloni and Maud Chetwynd.

Nellie Fergusson (Jovita de Sutro), Harry Diver (Tom Barnes), Ethel Buckley (Nell), Kenneth Hunter (Dick Gordon) in The Luck of Roaring Camp. Photos by Talma. From Punch (Melbourne), 10 February 1910, p.185.

With the departure of Hugh J. Ward, George Marlow’s company made a welcome return. They began their season on 5 March 1910 with the first Sydney production of The Luck of Roaring Camp, a melodrama in four acts by Benjamin Landeck, set on the Californian goldfields. It was apparently adapted from a story by American novelist Bret Harte (‘America’s Charles Dickins’), however, reviews soon revealed that the title was the only similarity. The Daily Telegraph, for example, noted, Landeck’s play ‘bears not the faintest resemblance to Bret Harte’s well-known story of the that name … It relates not to the doings of Oakhurst, the gambler; Stumpy, the good-natured Kentuck, and the rest of them, but the schemes of one Tom Barnes to obtain undisputed possession of a certain hidden mine, and to destroy the happiness of Will Gordon and Nell Curtis—persons who are conspicuously absent from the pages of Bret Harte’.³

Landeck’s play had first been performed in London at the Fulham Theatre in March 1909, and in Australia in January 1910 during George Marlow’s Adelaide season.

Ethel Buckley played the heroine, Nell (she was to repeat the role in a 1911 film-version of the play), with Nellie Fergusson as the Spanish adventuress, Jovita de Sutro, who along with Tom Barnes, played by Harry Diver, is one of the villains of the piece. Kenneth Hunter proved popular with audiences as Will Gordon, the hero, and J.P. O’Neill provided ‘a good deal of merriment’ as Mary Flynn, ‘a buxom dame’ who has buried two husbands.⁴

Palace audiences did not mind that the play had little to do with Bret Harte’s original story. It attracted packed houses, with Marlow reportedly turning people away each night. It played for the full three weeks of the season, after which the company departed for Western Australia.

Max Maxwell, 1909. Photo by Lafayette. From The Stage Year Book, 1910.

Author’s collection

The late John Brunton

State Library Victoria, Melbourne

On Easter Saturday, the Allan Hamilton-Max Maxwell Dramatic Company opened their season at the Palace. Following the retirement of Bland Holt, the sole rights to some of his greatest successes were secured by the new partnership of Hamilton and Maxwell. Allan Hamilton was a well-known and respected theatre manager, whose dramatic company had played at the Palace in 1909. Max Maxwell, a Tasmanian-born actor, had been with the Bland Holt company for 14 years, starting off in bit parts and graduating to leading man.

The company’s repertoire of plays included Woman and Wine, In London Town, Revenge, The Lights o’ London and Woman’s Hate. They also acquired the original scenery for these plays, painted by John Brunton, who had only recently died, in July 1909, aged 60. English-born Brunton had been in Australia since 1886, having been engaged by Willliamson, Garner and Musgrove at the Theatre Royal in Melbourne, painting backdrops for everything from Gilbert & Sullivan to pantomime and drama. By the early 1890s, he was also working on cloths for other managements, and in 1896 he had replaced W.B. Spong as scenic artist with Bland Holt. During his fifteen years with Holt, he painted the scenes for a raft of melodramas. In addition to the five selected for revival, they included The Cotton King, The Union Jack, The Prodigal Daughter, A Life of Pleasure, Straight from the Heart, Sporting Life, The Breaking of the Drought, The White Heather, The Great Millionaire and The Great Rescue. He was working on The Sins of Society at the time of his death.

Jennie Pollock. Photo by Talma.

Author’s collection

Charles Brown. Photo by May and Mina Moore.

State Library Victoria, Melbourne

Actors were drawn principally from the Bland Holt company, including Harrie Ireland, Jennie Pollock, Arthur Styan, Godfrey Cass and Charles Brown, while Beatrice Holloway was from the Hamiliton company.

Hamilton and Maxwell launched their Sydney season with Woman and Wine, a melodrama by Arthur Shirley and Benjamin Landeck. Bland Holt’s staging was carefully observed, and the play was presented in true ‘Blandholtian’ style. Set pieces included the Longchamps Steeplechase, the Japanese Ball, and the spectacular revolving set to the Paris Flower Market, which featured a duel with knives between two women!

From The Star (Sydney), 11 April 1910, p.8Woman and Wine was initially produced in 1897 at the Pavilion Theatre in London, and in March 1899 at the Princess’s Theatre.

When Bland Holt first staged the play in Melbourne in April 1899 and Sydney in June 1900, the principal characters were played by Elizabeth Watson/Harrie Ireland (Marcel Rigadout), Frances Ross (Mary Andrews), Fitzmaurice Gill (La Colombe), Walter Baker (Dick Seymour) and Arthur Styan (Pierre Crucru). For this current revival, Arthur Styan was the only actor from the original cast. Other roles were now played by Jennie Pollock (Marcel Rigadout), Beatrice Holloway (Mary Andrews), Vera Remee (La Colombe) and Max Maxwell (Dick Seymour).

Woman and Wine played for a fortnight, and on 16 April 1910, the company presented In London Town, a rag to riches melodrama by George R. Sims and Arthur Shirley. First produced in London at the Crown Theatre in Peckham in August 1899, the play entered Bland Holt’s repertoire the following year when it played three nights at the Opera House in Brisbane in April 1900. It was subsequently seen in Melbourne in June 1901 and Sydney in May 1902.

Once again, the only original cast member in the current revival was Arthur Styan who reprised his role of the blind tramp, Richard Norrison. Other parts were played by Max Maxwell (John Hargreaves), Godfrey Cass (Frank Dalton), Beatrice Holloway (Alice Dalton), Charles Brown (Jack Parker), Muriel Dale (Liddy Blist) and Jennie Pollock (Rosa Norrison).

Two weeks later, on 30 April 1910, the company presented their final revival of the season: Revenge, a romantic military drama by E. Hill Mitchelson. This was the most recent of the Bland Holt melodramas, receiving its first Australian outing at the Theatre Royal in Melbourne in January 1907. Woven around the Austrian revolution, this tale of daring-do was set in a royal palace, providing John Brunton with the opportunity to design some elaborate sets, ranging from a throne room to a prison. Max Maxwell played the dashing hero, Captain Loris Vanessa, with Godfrey Cass and Beatrice Holloway as the King and Queen. Richard Bellairs and Jennie Pollock added ‘weight and emphasis’ as the two baddies, Prince Orloff and Braga Vanessa.

Revengeproved a money-maker for Hamilton and Maxwell, but with West Pictures driven from the Glaciarium by the winter skaters and due to commence their season at the Palace Theatre on 7 May 1910, the melodrama company was required to call it quits. Thus, the company, comprising some 32 people and 130 tons of scenery, departed on a protracted tour of New Zealand and Tasmania.

West Pictures held court until the first week of September, and on 10 September 1910, the Hamilton-Maxwell company made a welcome return. Their opening production was Women’s Revenge by Henry Pettitt, one of the most popular dramas in the Bland Holt repertoire. First produced at the Adelphi Theatre in London in 1893, with Charles Warner (Frank Drummond), Elizabeth Robins (Mary Lonsdale), Gertrude Kingston (Mabel Wentworth), and Charles Cartwright (Jephtha Grimshaw) as the leads. The following year, it was performed in Australia for the first time by the Bland Holt company, with Edward Sass, Henrietta Watson, Edith Blande and Walter Baker. The scenery was designed by George and John Gordon. Holt mounted an elaborate revival in 1897 with new scenery by John Brunton. The leads, on this occasion, were Walter Baker, Elizabeth Watson, Frances Ross and John Cosgrove.

Ronald W. Riley. Photo by Doré Studios, Sydney.

State Library Victoria, Melbourne

Vera Remee. Photographer Unknown.

http://www.red-jos.net/desaxe.htm

The line-up of the Hamilton-Maxwell company was largely the same as it had been the previous March, with Beatrice Holloway, Max Maxwell and Richard Bellairs as the leads. However, two newcomers, Nellie Strong and Ronald W. Riley, now filled the roles vacated by Jennie Pollock and Arthur Styan, who had joined the Clarke and Meynell organisation.

Alas, one day into the season Beatrice Holloway fell ill with enteric fever (typhoid), with Vera Remee taking over the part of the heroine Mary Lonsdale.

Women’s Revenge played until 23 September. By way of farewelling the play—and in anticipation of the one to follow—‘J.B.’ contributed a little poem to the Bulletin.

From The Bulletin (Sydney), 22 September 1910, p.8

With the end of the season looming, Allan Hamilton announced two new dramas, The Little Breadwinnerand Why Men Love Women. These were being presented by arrangement with Messrs Clarke and Meynell.

The first of these plays, The Little Breadwinner, had already been performed throughout Western Australia, Victoria, and Queensland by the Clarke and Meynell company. It had been given its Australian premiere at His Majesty’s Theatre in Perth in February 1908, with G.P. Carey, Fred Coape, Beatrice Holloway, C.R. Stanford, Ida Gresham and Queenie Williams in the principal roles. The last named was a child star who had been seen to good effect in the Meynell and Gunn hit show The Fatal Wedding, performing with the ‘Tin Can Band’.

Described as a Domestic Drama in five acts, the play by J.A. Campbell, had first been performed in Birmingham in December 1905 (by J.A. Campbell’s own company), prior to opening in London, at the Standard Theatre, on 19 March 1906. The London cast included J.C. Aubrey (Lord William), C. King (Richard), Kathleen Russell (Margaret) and Little Maud Harris (Meg).

The play tells the story of Dick Lawrence, the adopted son of Lord William Dorrington, who wrongly convicted of stealing, is banished from the household. Moving to London with his betrothed, Margaret, the couple live in poverty, and with his wife now blind, they rely on their little daughter Meg to keep ‘the wolf from the door by singing in the street’. Eventually the true perpetrator of the theft is found, and the whole family is reunited.

The first Sydney production of The Little Breadwinner opened on 24 September 1910. Apart from Queenie Williams, who played Meg, the ‘little breadwinner’ of the title, the line up of the company was completely new, with Charles Brown (Lord William), Max Maxwell (Dick Lawrence), Vera Remee (Margaret), with Richard Bellairs as Joseph Prior, the chief villain.

Queenie Williams in c.1912, when she went to America. Photo by James & Bushnell, Seattle.

Sayre Collection of Theatrical Photographs, University of Washington Libraries

Nellie Strong, 1910. Photo by Talma.

State Library of New South Wales, Sydney

The Little Breadwinnerproved a little winner, especially the performance of Queenie Williams.⁵

The final play of the season was Why Men Love Women by Walter Howard, the author of the highly popular melodrama The Midnight Wedding. This play had been announced for performance by the Harcourt Beatty-Madge McIntosh company in 1908 but was not performed. And in early 1910, it was slated for performance in Melbourne by the Clarke-Meynell company. It finally received its first Australian production at Maitland (NSW) on 12 March 1910 by the Edwin Geach company. The principal characters were played by Walter Vincent (Gerald Fielding), Lottie Lyell (Violet Livingstone), Raymond Longford (Captain Serge Staniloff), Ida Gresham (Mariel Toloski), and C.R. Stanford (Maharajah of Balore).

Described as an ‘Anglo-Indian drama, with many stirring and sensational interests’, the play had first been performed in Manchester (UK) in 1901. It did very well in the British provinces, but never reached the West End.

When the play opened In Sydney on 8 October 1910, it was incorrectly advertised as being the ‘first production in Australia’. It received a warm reception, being ‘joyously acclaimed by a crowded house at the Palace Theatre’.⁶ The principal characters were performed by Vera Remee (Violet Livingstone), Max Maxwell (Gerald Fielding), Richard Bellairs (Captain Staniloff), Ronald W. Riley (Maharajah) and Nellie Strong (Muriel Zoluski). Interestingly, all the reviews make it clear that the title of the play is never really explained. There was a scene in which the hero gave a poetic speech, the ‘Allegory of Love, the Maiden, and the Rose’, which gave promise of a solution, but apparently left the most attentive listeners still without a firm answer!

Why Men Love Women played to packed houses, but was withdrawn at the height of it success on 28 October 1910 to make way for The Spider and the Fly. Described as a ‘sensational drama of modern times’, this new play, being performed in Australia for the first time, was written by two stalwarts of the genre, Sutton Vane and Arthur Shirley.

It had first been performed at the Grand Theatre, Brighton, in April 1906, and at the Kennington Theatre, London, the following August. The story of two half-brothers, one good, and one bad. The good brother, Cyril Girdlestone, is happily married with a wife and infant. Cyril had previously been tricked into a marriage with an adventuress, Lola Grey, but following her death was free to marry his true sweetheart, Edith McAllister. When Cyril’s half-brother, Welby, learns that Cyril has become the sole heir of their father’s fortune, he plots with Lola (who isn’t really dead, and who had married Cyril bigamously), to kill the young family. She sets a trap, whereby Cyril and Edith are locked in a room in which the ceiling can be mechanically lowered, thereby squashing any inhabitants! Ultimately the villainous Lola is caught in her own snare. The cast included Max Maxwell and Vera Remee as the hero and heroine, with Richard Bellairs as the scheming half-brother, and Nellie Strong as the adventuress.

The Spider and the Flywas played until 11 November 1910, and on the following night the company reprised the melodrama Revenge, which they had first presented earlier in the year—and which had been the hit of that season. Max Maxwell and Richard Bellairs once again played Captain Loris Vanessa and Prince Orloff respectively, while Ronald W. Riley and Vera Remee now played the King and Queen, with Nellie Strong as Braga Vanessa.

Revengeplayed for twelve nights, closing on 25 November, thus bringing the highly successful Hamilton-Maxwell season to an end. With the end of this engagement, the company was disbanded, with Max Maxwell and Allan Hamilton going their separate ways. Maxwell set off on a country tour, and readers will be happy to note that he was re-joined by Beatrice Holloway as his leading lady, fully recovered from her recent severe indisposition.

The following night, 26 November, saw the return to the Sydney stage of Maggie Moore, accompanied by her husband H.R. Roberts. Their company included many old favourites, including A.E. Greenaway, C.R. Stanford and Ethel Bashford.

From The Bulletin (Sydney), 24 November 1910, p.8The company’s three-week season saw the production of three plays, playing for a week each. The first was Shadows of a Great City, written by Joseph Jefferson and Livingston Robert Sherwell and first performed in America in 1884, Australia in 1885, and the UK in 1887. Set amidst the urban underbelly of the New York docks and on Blackwell’s Island, the play introduced a myriad of gritty characters. As Biddy Roonan, Maggie Moore played a big-hearted Irish washerwoman, replete with songs. (Interestingly, when the play was revived in Australia in 1887, the role of Biddy was played by comic Grattan Riggs.)

Six nights later, a change of bill saw a revival of A Gambler’s Sweetheart, originally performed by them eighteen months earlier, under the auspices of Clarke and Meynell. Written by Clay M. Greene (of Struck Oilfame), H.R. Roberts and Maggie Moore reprised their characters of Mason (the gambler) and Bessie Fairfax (his sweetheart). The Sydney Morning Herald observed of her performance, that she played Bessie ‘with a vivacity and archness reminiscent of her never-to-be-forgotten Lizzie Stofel [in Struck Oil].’⁷

The following night, Saturday, 9 December 1910, they presented their final offering, a revival of The Prince Chap, previously seen at the Palace during 1908. H.R. Roberts and A.E. Greenaway revived their original roles of William Peyton and the Earl of Henningford, as did Little Vera Huggett and Beryl Yates who played the girl Claudia in Acts 1 and 2 respectively. Ethel Bashford played Claudia in Act 3. As Maggie Moore was not in the play, the evening concluded with the one act farce The Chinese Question, specially written for her by Clay M. Greene, in which she played Kitty McShane (alias San See Lo).

Next the Mosman Musical Society took over the theatre for a week, from 17-23 December, presenting Auber’s comic opera Fra Diavolo.

The year cycled back to where it began with the return of Hugh J. Ward’s company, bringing with them a new comedy, The Girl from Rector’s.

To be continued

Endnotes

1. Kalgoorlie Miner, 23 June 1909, p.8

2. Referee, 2 March 1910, p.16

3. Daily Telegraph, 7 March 1910, p.10

4. Australian Town and Country Journal, 9 March 1910, p.51

5. For more information on the career of Queenie Williams, see Nick Murphy’s, Queenie Williams (1896-1962) & the last Pollard’s tour of America – Forgotten Australian Actors (forgottenaustralianactresses.com)

6. Sydney Morning Herald, 10 October 1910, p.5

7. Sydney Morning Herald, 5 December 1910, p.4

References

Allardyce Nicoll, English Drama 1900–1930: The beginnings of the modern period, Cambridge University Press, 1973

L. Carson (editor), The Stage Year Book, Carson & Comerford Lrd, 1910

Reginald Clarence, The Stage Cyclopaedia: A bibliography of play, Burt Franklin, 1970 (originally published in 1909)

Nick Murphy, Queenie Williams (1896-1962) & the last Pollard’s tour of America, Forgotten Australian Actors (website)

J.P. Wearing, The London Stage, 1900–1909: A calendar of productions, performers, and personnel, 2nd edition, Rowman & Littlefield, 2014

Newspapers

Australian Town and Country Journal (Sydney), The Bulletin (Sydney), The Daily Telegraph (Sydney), Kalgoorlie Miner, The Mirror (Sydney), Punch (Melbourne), The Referee (Sydney), The Star (Sydney), The Sydney Morning Herald, Table Talk (Melbourne)

Trove, https://trove.nla.gov.au/

Pictures

National Library of Australia, Canberra

State Library of New South Wales, Sydney

State Library Victoria, Melbourne

With thanks to

Rob Morrison, Nick Murphy

Christmas1910 at the Palace Theatre saw the return of Hugh J. Ward’s company, bringing with them a new comedy, The Girl from Rector’s, which opened on Christmas Eve, 24 December. With this season, Ward was also announcing his ‘farewell to the footlights’, having accepted an offer from J.C. Williamson Ltd. to become a principal with The Firm.

Described in the bills as ‘A riotous piece of extravagance’, ‘A laughing paralysis in four fits’ and ‘A spicy banquet of merriment’, the new piece was a comedy in four acts by Paul M. Potter (best known for turning George Du Maurier’s 1896 novel Trilby into a play). Ward’s company had presented the first Australian production of The Girl from Rector’s at the Princess Theatre in Melbourne the previous June, and on tour, where it was a huge success. Derived from the French farce, Loute, by Pierre Veber, the play focusses on the adulterous goings-on of several couples.¹ When it was first produced in Trenton, New Jersey (29 January 1909) by A.H. Woods, it attracted the ire of the local clergy and was withdrawn after just one out-of-town ‘try-out’. As a result, it received a great reception when it moved to Broadway, opening at Weber’s Music Hall on 1 February 1909, and playing for 184 performances.²

Scene restaurant scene in the last act from The Girl from Rector’s. Auckland Libraries Heritage Collections.

In advertisements, Ward reproduced a rather tongue-in-cheek ‘Author’s Note’, which read:

The Girl from Rector’s is a full version of Pierre Veber’s famous comedy ‘Loute’, which has had a triumphant career in Europe. Based on the strange theory that married men often lead double lives, and that the saint of the rural home may be the Lothario of its city, Mr Potter hesitated to introduce this comedy to a community where he believed, in his innocence, that married men of double lives were practically unknown, but as many recent lawsuits have tended to prove the contrary, the management has decided to produce the play, in the hopes that it will serve as a warning to husbands, and strengthen the hands of matrons and maids who are battling for the purity of the home.³

From The Daily Telegraph (Sydney), 31 January 1911, p.9Like many farces, its plot is complicated. Nevertheless, the central character, has just been dumped by her lover Richard O’Shaughnessy, a New York playboy. She goes by the name of Loute Sedaine, but she is actually the wife of a small-town judge. Richard is on the hunt for a new girlfriend and falls for a pretty heiress, Marcia Singleton, who is also the object of Professor Maboon’s affections. Richard tells Colonel Tandy of his plans, little knowing that Tandy is really Marcia’s father, believed by his wife and daughter to be Martinique. In the end identities are revealed and the various couples pair off, with Loute returning to her husband and Richard marrying Marcia. The final big scene involves a dinner in a suburban restaurant between Loute and Richard, whereby the staff are all Marcia’s friends and family in disguise.

The play’s title, which references a stylish New York restaurant, has little to do with the plot, but rather reflects the current fashion for plays and musicals with titles beginning The Girl from … .⁴

In America, the central characters were played by Violet Dale (Loute Sedaine), Van Rensselaer Wheeler (Richard O’Shaughnessy), Nena Blake (Marcia Singleton), William Burress (Colonel Tandy), Herbert Carr (Judge Caperton), Elita Proctor Otis (Mrs Witherspoon Copley) and Dallas Wellford (Professor Aubrey Maboon). In Sydney, the same roles were performed by Grace Palotta, Aubrey Mallalieu, Ruby Baxter, Reginald Wykeham, Robert Greig, Celia Ghiloni and Hugh J. Ward.

The farce was to have been followed by another comedy on 28 January 1911, but on account of it “drawing such crowded audiences”, Ward decided to keep it running for a fortnight longer.⁵

The Girl from Rector’s was finally withdrawn on 3 February 1911, and the following night Seven Days was produced for the first time in Australia. By way of a publicity stunt, prior to its opening, one of the ladies in the company, Clara Budgin, undertook to climb a scaffold and paste a huge poster on the side of a building in Pitt Street announcing the opening of the play. This stunt was undertaken in response to a claim in a newspaper article that there was “at least one business in which women could not excel”: namely bill posting!⁶

Though not as hilarious as The Girl from Rector’s, Avery Hopwood and Mary Robert Rinehart’s three-act comedy did very well on Broadway, playing for a year (some reviews exaggerating it to two!). Based on Rinehart’s 1908 novella When a Man Marries, it was her first play and only the second play of co-writer Hopwood. The two would enjoy further successes with Spanish Love and The Bat.

Scene from Seven Days. From the left: Grace Palotta, Reginald Wykeham. Maud Chetwynd, Aubrey Mallalieu, Celia Ghiloni, Hugh J. Ward, Ruby Baxter and Robert Greig, with H.H. Wallace (top). Auckland Libraries Heritage Collections.

Seven Days opened on Broadway at the Astor Theatre on 10 November 1909, following a single ‘try-out’ performance at the Taylor Opera Houe in Trenton, New Jersey, on 1 November. Deftly combining comedy and crime, the play centres on a group of people who are forced to spend seven days together after a case of smallpox is detected among the servants. James Wilson has divorced, but has not told his rich Aunt Selina, so when she comes to visit, he gets Kit McNair to pretend to be his wife. Just before the household is thrown into quarantine, James’s former wife arrives, as does James’s friend Dallas Brown with wife Anne; Tom Harbison, an admirer of Kit’s (amazed to find her ‘married’); a red-headed police officer; and a burglar in hiding. The Broadway line-up included Herbert Corthell (James Wilson), Lucille La Verne (Aunt Selina), Georgie O’Ramsey (Kit McNair), Hope Latham (Bella Knowles), Allan Pollock (Dallas Brown), Florence Reed (Anne Brown), Carl Eckstrom (Tom Harbison), Jay Wilson (Office Flannigan) and William Eville (Tubby McGirk). Unlike The Girl from Rector’s, Seven Days also played a short season in London, when it was performed at the New Theatre for 16 performances from 15 March 1915, with Lennox Pawle, Lotte Venne, Athene Seyler and Auriol Lee.

Seven Days was performed for the final three weeks of Ward’s season at the Palace, with the key roles played by Hugh J. Ward (James Wilson), Celia Ghiloni (Aunt Selina), Grace Palotta (Kit McNair), Ruby Baxter (Bella Knowles), Aubrey Mallalieu (Dallas Brown), Maud Chetwynd (Anne Brown), Reginald Wyckham (Tom Harbison), Robert Greig (Office Flannigan) and H.H. Wallace (Tubby McGirk). Opening night was a memorable one for Ward. Not only was he entering his final weeks as an actor-manager, but just before the curtain went up, he received news that his house (‘Lafayette’, William Street, Double Bay) was on fire. Fortunately, the fire crew was able to contain the blaze to a bathroom, lavatory, and luggage room, but the timing was not great. This was on top of an already busy week for Ward, not only rehearsing a new play, but as the chief organiser and participant in a benefit for two surf lifesavers. The benefit, which was held at the Stadium (in Rushcutters Bay), took the form of a ‘boxing display’, including a match between Ward and Reginald ‘Snowy’ Baker (a professional pugilist and brother of one of the lifesavers). The event raised £800. (For the record, Ward won the bout when in the second round he delivered a knockout punch with his left to Snowy’s jaw. Snowy fell back and hit his head and was carried off unconscious. Shocked at the outcome, Ward vowed to hang up his gloves!)

From The Bulletin (Sydney), 2 March 1911, p.8 (left) and Auckland Libraries Heritage Collections (right)

On the last night of the season, Saturday, 25 February 1911, by way of his farewell to the stage, Ward performed his Scarecrow dance for the first time in Sydney. The dance was part of a larger sketch entitled The Scarecrow, which according to publicity had been devised by him some years earlier when he was appearing in Paris at the Théâtre du Châtelet. The character was subsequently introduced into the Drury Lane pantomime Humpty Dumpty in 1903–1904. A quote from the London Telegraph was included in newspaper ads:

A wonderful scarecrow of old clothes and bursting straw stuffing, impersonated with rare skill by Mr. Ward. His movement, so invertebrate and fifth of Novemberish, are like nothing we have ever seen. There is a pathetic grotesqueness about them quite fascinating.⁷

With the departure of Ward and his company, Spencer’s Theatrescope Company commenced a short season at the Palace (pending their relocation to the Lyceum Theatre) and over the following fortnight they presented a weekly change of ‘picture plays’ beginning with Rip Van Winkleon 27 February.

Saturday, 11 March 1911 saw the arrival of the Hamilton-Plimmer-Denniston company, fresh from a successful tour of New Zealand. The company, which was considered the heir to the old Brough-Boucicault company, included Mrs Robert Brough (nee Florence Trevelyn), the widow of Robert Brough who had died in 1906. After his death she had gone to the ‘old country’ for a time and had also (rather unexpectedly) remarried. The three directors of the new company had also performed with the Brough company at various times. When he was last at the Palace, Allan Hamilton had been associated with Max Maxwell, but with the dissolution of that partnership, he joined forces with Harry Plimmer and Reynolds Denniston. The combination that was now at the Palace had previously appeared in Sydney in September 1910 at the Theatre Royal.

Pre-publicity suggested that they would be opening their season with the first Australian production of Somerset Maugham’s comedy Smith. However, this was not the case. Instead, they revived A Message from Mars (Hamilton having acquired the sole Australian rights from Clarke and Meynell), with Plimmer as Horace Parker and Denniston as the Messenger. Lizette Parkes was Minnie Templar and Mrs Robert Brough was Aunt Martha. The play was mounted with all new scenery by Harry Whaite. As the season was strictly limited to five weeks, it was withdrawn on 17 March and replaced by The Passing of the Third Floor Back. Written by Jerome K. Jerome (based on his short story) and originally performed in England in 1909 with Johnston Forbes Robertson and Gertrude Elliott, it was subsequently staged in Australia by the Clarke and Meynell company in June/July 1910 with star London actors Matheson Lang and Hutin Britton. Sub-titled, ‘an idle fantasy’, it was the story of a mysterious stranger who takes a room in a London boarding-house, and one by one he helps its miserable and dissolute tenants to find their ‘better selves’. For the current revival, Harry Plimmer played The Stranger, with Lizette Parkes as the Slavey, Mrs Brough as the Landlady, and Reynolds Denniston as Major Tompkins.

Characters from A Message from Mars. From The Sun (Sydney), 13 March 1911, p.5.

On the 25 March 1911, the Hamilton-Plimmer-Denniston company presented their last play for the season, a revival of Lovers’ Lane, a rustic tale of a “country parson’s troubles with his flock and his sweethearts”, by Clyde Fitch. First performed in America in 1909 and by the current company in 1910, it saw Harry Plimmer reprise his role of the Rev. Thomas Singleton, with Reynolds Denniston as Herbert Woodbridge, Mrs Brough as Mrs Woodbridge, Valentine Sidney as Miss Mattie, and Lizette Parkes as Simplicity Johnson. During the second act, Myra Wall, sang ‘Ben Bolt’ (composed by Nelson Kneass in 1848 and memorably reprised in Trilby), and Lizette Parkes, together with a ‘band of merry youngsters’, sang ‘The Old Red School’ (by Irving B. Lee, with music by Hampton Durand).⁸

With the close of the season, the company headed north to Brisbane. In advance, Allan Hamilton secured a return season at the Palace in September.

Next, for two nights only, Saturday, 1 April and Monday, 3 April, the Sydney Stage Society presented Civil War, a comedy in four acts by Ashley Dukes. It saw the reappearance of G.S. Titheradge, who as Sir John Latimer ‘gave an able and polished exposition of the proud and obstinate old Baronet’.⁹ He was supported by Leonard Willey, Stephen Scarlett, Lily Titheradge and Ruby Ward. A.E. Greenaway directed.

From 4–7 April, the Palace hosted the Lyric Opera Company in a new and original Australian ‘Musical Military Frisk’ by P.C. Gray (libretto) and George Tott (music) called 19–20. It seems rehearsals had been held in September 1910 and these were the premiere performances. A notable element of the production were the ballets created by Ruby Hooper (a younger sister of J.C. Williamson ballet mistress, Minnie Hooper) which featured a young Madge Elliott as solo danseuse.¹⁰

George Marlow was back on 8 April with The Luck of Roaring Camp—the play that had been a huge hit the previous year. But it was not the play! It was the ‘moving picture’ version, directed by W.J. Lincoln, with Ethel Buckley reprising her role of Nell Curtis. The hero, Will Gordon, was now played by Robert Inman. The review in the Sydney Morning Herald (10 April 1911, p.4) noted:

The drama was played before the camera by George Marlow’s dramatic company … and the result, as shown, by the pictures, is a thrilling “story without words” … The play has been carefully selected for this method of portrayal, because it teems with exciting episodes and thrilling incidents in particular that could never be seen on any stage without the camera is the splendid exhibition of horsemanship shown by a team of rough-riders.

The film, which had been seen in Melbourne the previous March, was being screened in Sydney for the first time. It played for six nights only as part of a longer program of films.¹¹

Good Friday, 14 April saw a Grand Sacred Concert, which featured The Royal Hawaiians.

The next evening West’s Pictures returned. Over the following months they screened films in two venues, the Palace and the Glaciarium, though in June, the pictures moved from the open air Glaciarium to the newly-opened Princess Theatre in George Street, opposite Central Station, and from 4 August, they used just the Princess, and the Palace returned to live entertainment.

Sheet music cover for ‘Why Does My Heart Beat So?’, sung in the pantomime The Old Woman Who Lived in a Shoe, by Dorothea Liddle.

National Library of Australia, Canberra.

Roy Redgrave. Photo by Johnstone, O'Shannessy & Falk.

State Library Victoria, Melbourne.

On 5 August 1911, William Anderson took over the lease of the Palace, opening with the first Sydney appearance of Tom Liddiard’s Lilliputians. This ‘Great company of Little Artists’ had been formed in 1907 and since that time had been touring throughout India and the East. Since returning to Australia in April 1910, the company undertook several regional tours and had joined forces with William Anderson’s management to present the pantomime The Old Woman Who Lived in a Shoe. The show received its first Australian outing at Christmas 1910 at the King’s Theatre in Melbourne. Prior to their arrival in Sydney, the pantomime had been seen in Adelaide, Broken Hill, Ballarat and Bendigo.

Reviews were quick to point out that it was a risky move presenting pantomime outside of the festive season, but nevertheless, Anderson seemed to know what he was doing. The Lilliputians proved a big drawcard. The pantomime by F. Major drew on a whole bevy of characters from nursery rhymes and fairy tales, headed by Jack Dauntless played by Lily Clarke, whose ‘graceful and effective’ singing and dancing proved a drawcard. Her song ‘Hello, Little Girl’ was particularly effective. Another song, ‘Why Does My Heart Beat So?’ was introduced by another youngster, Dorothea Liddle, in the role of Jill.¹²

From 26 August, with the arrival of William Anderson’s Dramatic Company, the pantomime played selected matinees only, touring to nearby theatres at other times. The Anderson Co. had been performing at the Criterion Theatre since 12 August, but was forced to vacate the theatre to make way for British actress Ethel Irving, who was opening her Sydney debut season on 26 August.

The new show was The Man from Outback, a melodrama in four acts by Albert Edmunds (the pen name of Bert Bailey and Edmund Duggan). An Australian-themed melodrama set on a cattle station—involving the capture of cattle rustlers by the owner’s feisty daughter with the help of a mysterious stranger—the play, which capitalised on the success of The Squatter’s Daughter, had first been produced in 1909 at the King’s Theatre in Melbourne, and had recently been revived at the King’s in July/August 1911. This was its first Sydney representation. The title character, Dave Goulburn, was played by Roy Redgrave (he created the role in 1909), supported by Olive Wilton as Mona Maitland, with Bert Bailey in the comic role of Joe Lachlan, and Edmund Duggan and Rutland Beckett as the chief villains. The play was well received, with the Sydney Morning Herald (7 August 1911, p.6) noting:

From the opening scene to the final curtain it gripped the audience, and clearly, ‘The Man from Outback’ has come for a prolonged stay. Its joint authors, Mr Bert Bailey and Mr Edmund Duggan, in this second effort have improved upon ‘The Squatter’s Daughter’. The plot is good, its unfolding moves briskly forward, the dialogue is to the point, and the whole environment is that of the Australian bush.

Of the cast, Roy Redgrave is probably one of the more interesting actors. He had been in Australia on and off since 1904 and prior to joining William Anderson’s company in 1909, he had returned to England, where he met and married his second wife, the actress Daisy (Margaret) Scudamore. In mid-1909, six months after the birth of their son Michael, the family travelled to Australia, under contact to William Anderson’s company, opening in Melbourne in August 1909 in The Bushwoman. Daisy played the heroine, Kate, with Roy as her lover Jack Dunstan. Off stage relations between Daisy and Roy were fractious, and when Daisy’s contract with Anderson expired in August 1910, she returned to London with her son. Michael Redgrave would go on to achieve accolades as an actor on both stage and screen (receiving a knighthood in 1959), with Roy becoming the patriarch of an acting family that spawned three generations.¹³

On 3 September, The Man from Outback gave way to The Christian. This was a revised version of a play by Hall Caine, based partly on his 1896 novel of the same name. It told the story of a young Manx woman, Glory Quayle, who, against the advice of John Storm, a crusading Anglican priest, leaves the Isle of Man to become a successful music hall artiste. Storm goes after her and in a rage is determined to kill her if she won’t repent her life of sin, and recognising that they love one another, Glory agrees to become his wife and help him with his work among the poor.

The play had originally been staged in 1897, when a copyright performance was given at the Grand Theatre in Douglas on the Isle of Man on 7 August, with the actors drawn from Caine’s own family (with Caine as John Storm).¹⁴ The first professional production was given in America the following year with Viola Allen as Glory Quayle and Edward J. Morgan as Storm. Evelyn Millard created the role of Glory in England in 1899, with Herbert Waring as the preacher. In Australia, a new adaptation of the novel was made by Wilson Barrett and Bernard Espinaise, and first staged in 1900 with Edith Crane and Tyrone Power in the lead roles. This version was subsequently revived in 1903–1904 (with Cuyler Hastings and May Chevalier) and 1906–1907 (with Charles Waldron and Ola Humphrey). In 1907, Hall Caine devised a new version of the play, given its first performance at the Lyceum Theatre in London, with Alice Crawford and Matheson Lang as the principals. It was this play that was staged in Australia in 1911.

The play saw the return of Eugenie Duggan (wife of William Anderson), who played the role of Glory Quayle, with Roy Redgrave as John Storm, a role he was said to have played ‘over 200 nights in England’. The run was limited to a fortnight pending the arrival of the Plimmer–Denniston company. It seems the success of The Christian lead to the making of a film version featuring the same cast. It was directed by Franklyn Barrett. Sadly, the film is considered lost.¹⁵

Scene from Nobody’s Daughter: Mrs Brough and Harry Plimmer as Mr and Mrs Frampton, with Reynolds Denniston and Valentine Sidney as Colonel and Mrs Torrens. In Sydney, Beatrice Day played the role of Mrs Torrens. Auckland Libraries Heritage Collections.

Saturday, 16 September 1911, saw the return of the Plimmer–Denniston company, under the direction of Allan Hamilton, with the first Sydney production of Nobody’s Daughter. Heralded as “The Best English Play of the Year”, the four-act drama by George Paston (the nom-de-theatre of Miss E.M. Symonds), had already been performed with noted success in Perth, Melbourne, Adelaide and throughout New Zealand.

The story concerns a young girl (Honora May) who, born out of wedlock, is bought up by foster parents in the country. On her nineteenth birthday, her real parents, Colonel Torrens and Mrs Frampton, come to visit, and Mrs Frampton is persuaded to adopt Honoria as her ‘ward’. The Framptons and the Torrens are good friends and Mrs Torrens and Mr Frampton both become suspicious as to the young girl’s real parents. Honoria has a suitor from the country and on learning the truth fears that her sweetheart will reject her. However, he is made of stronger stuff, and the two young people elope. Likewise, after much discussion and tears, Mrs Torrens and then Mr Frampton forgive their spouses for the folly of their youth.

The play had first been introduced tPoster for Allan Hamilton’s Australasian tour of Beauty and the Barge. The images used on the poster come from the original 1904 London production. Auckland Libraries Heritage Collections.o the London stage in September 1910, playing at Wyndham’s Theatre for 185 performances. The key roles were played by Gerald du Maurier and Lilian Braithwaite as Mr and Mrs Frampton, Sydney Valentine and Henrietta Watson as Colonel and Mrs Torrens, and Rosalie Toller as Honora May. In Sydney these same roles were taken by Harry Plimmer and Mrs Brough, Reynolds Denniston and Beatrice Day, with Lizette Parkes as the title character. When the Plimmer–Denniston company first performed the play, Valentine Sidney had taken the role of Mrs Torrens.

The drama enjoyed a highly successful season in Sydney, playing until Wednesday, 1 November.

The final two nights of the season, 2 and 3 November, saw a revival of A.W. Pinero’s drama The Second Mrs Tanqueray, with Florence Brough as Paula, so her legions of fans were given an opportunity to see her in her most famous role. She had created the part in the first Australian production in 1894 when it was staged under the auspices of the Brough-Boucicault Comedy Company. Supporting roles in the current production were played by Harry Plimmer (Aubrey Tanqueray), Reynolds Denniston (Captain Ardale), Lizette Parkes (Ellean) and Beatrice Day (Mrs Cortelyon).

When Plimmer and Denniston and the Nobody’s Daughter company departed for Queensland, Allan Hamilton stayed on, introducing a new dramatic combination. This new company comprised many old favourites including Beatrice Holloway (making her reappearance in Sydney after her illness), Charles Brown, Robert Greig, and Katie Towers, along with two newcomers, Kenneth Brampton and Lilian Lloyd. The former would go on to have a long career in Australia.

The season commenced, on Saturday, 4 November 1911, with a revival of Beauty and the Barge. This piece, a comedy by W.W. Jacobs and Louis N. Parker, was another play from the repertoire of the Brough-Boucicault Comedy Company, having first been performed by them in Australia in 1905. The heartfelt story of a young woman who seeks the assistance of an old bargee in her quest to run away from her domineering father and an arranged marriage, the play had originally been seen in London in 1904 with Jessie Bateman as Ethel Smedley and Cyril Maude as Captain Barley. In Australia, the roles were created by Winifred Fraser and Robert Brough. For the current production, Beatrice Holloway played Ethel Smedley with Charles Brown as Captain Barley. Advertisements also announced that ‘The ORIGINAL BARGE, specially built at the Haymarket Theatre, London, for the late Mr Robert Brough, will be used in this production’. However, resident scenic artist, Harry Whaite, provided entirely new scenery.

A fortnight later a change of bill saw the reprisal of Why Men Love Women open on 18 November. It was last seen at the Palace in October 1910 when it was performed by the Hamilton–Maxwell company. Katie Towers and Muriel Dale revived their original roles of Matilda Figgins and Baby, while the leads were now played by Kenneth Brampton (Gerald Fielding), Beatrice Holloway (Violet Livingston), with Lilian Lloyd as Muriel Zoluski. With the final performance on 1 December, the Allan Hamilton season came to an end.

With Christmas fast approaching, something of a magical nature was in store for patrons of the Palace.

To be continued

Endnotes

1. This play also formed the basis of the musical See You Later by Guy Bolton and P.G. Wodehouse, with music by Jean Schwartz and William F. Peters, produced at the Academy of Music, Baltimore, April 1918

2. Fisher & Hardison, p.273

3. The Age (Melbourne), 30 April 1910, p.16

4. Titles included: The Girl from Paris (1896), … from Maxim’s (1899), … from Kay’s (1902), … from Up There (1902); and there would be more over the years: … from Brazil, … from Home, … from Montmartre, … from Utah.

5. The Sun (Sydney), 20 January 1900, p.3

6. The Sun (Sydney), 28 January 1911, p. 10

7. Daily Telegraph (Sydney), 25 February 1911, p.2

8. The Sydney Morning Herald, 25 March 1911, p.2 (ad) and 27 March 1911, p. 4 (review)

9. The Sydney Morning Herald, 3 April 1911, p.5

10. The Sydney Morning Herald, 5 April 1911, p.12

11. For more information see Pike & Cooper, p.21

12. For more information, see Tom Liddiard/Liddiard’s Lilliputians, Australian Variety Theatre Archive (ozvta), 2018

13. Both Ancestry and Wikipedia erroneously state that Roy Redgrave deserted his wife, Daisy Scudamore, in England in 1909.

14. Allen, p.256

15. For more information see Pike & Cooper, pp.39–40

References

Vivien Allen, Hall Caine: Portrait of a Victorian romancer, Sheffield Academic Press, 1997

James Fisher & Felicia Hardison Londré, Historical Dictionary of American Theatre: Modernism, 2nd edition, Rowman & Littlefield, 2017

Thomas Hischak, Broadway Plays and Musicals: Descriptions and essential facts of more than 14,000 shows through 2007, McFarland & Co. Inc., 2009

Eric Irvin, Australian melodrama: Eighty years of popular theatre, Hale & Iremonger, 1981

Allardyce Nicoll, English Drama 1900–1930: The beginnings of the modern period, Cambridge University Press, 1973

Andrew Pike & Ross Cooper, Australian Film, 1900–1977, Oxford University Press in association with The Australian Film Institute, 1980

J.P. Wearing, The London Stage, 1900–1909: A calendar of productions, performers, and personnel, 2nd edition, Rowman & Littlefield, 2014

J.P. Wearing, The London Stage, 1910–1919: A calendar of productions, performers, and personnel, 2nd edition, Rowman & Littlefield, 2014

Newspapers

TheAge (Melbourne), The Bulletin (Sydney), The Daily Telegraph (Sydney), The Sun (Sydney), The Sydney Morning Herald

Trove, https://trove.nla.gov.au/

Pictures

Auckland Libraries Heritage Collections

National Library of Australia, Canberra

State Library Victoria, Melbourne

With thanks to

Rob Morrison