W.D. & H.O. Wills ‘Stage and Musical Celebrities’—Aggie Thorne (sic). Author’s Collection.Among the numerous cigarette card sets issued in Australia by W.D. and H.O. Wills is a series of 50 cards issued around 1905, titled ‘Stage and Music Hall Celebrities’. The cards came as a black and white set and a sepia set, with the image of the celebrity in an oval. Several popular Australian performers are featured, including Nellie Stewart, Florence Young, Eugenie Duggan, Ada Crossley, the child actress Fanny Powers and Aggie Thorne. Aggie is card No. 42 in the set and her beautiful portrait is a reproduction of a photo specially taken for the Adelaide Critic magazine by the eminent Sydney photographic studio, ‘Falk’.
(In several press reviews and other publications Aggie’s surname appears as Thorne. This error has not been corrected by the author)
Agnes (Aggie) Mary Gertrude Thorn was born 31 May 1881, the youngest of eight children of George and Cecilia. Her parents were publicans, having been involved in several hotels in North Melbourne and doing well enough for the family to spend three years at George’s family home in Thornhill, Tipperary, returning to Australia in late October 1879. After eight years running the Tam O’Shanter hotel in North Melbourne the Thorns sold it in 1886 and purchased the Royal George in Prahran the same year, leasing it out some four years later, and then moving to Shepparton with the purchase of the Victoria Hotel. The Thorns were active members of the local community and Catholic church and resided at their landed property, ‘Thornvale’.1
Aggie Thorn came to the Australian stage from a rich background in music and singing which began in her school days, continued when at university, and through her social musical activities.
Aggie attended the Presentation Convent in Windsor as a boarder where she received her academic schooling and comprehensive practical and theoretic music tuition from the nuns. Throughout her school days Aggie was a gifted student who excelled in her studies and was a regular prize winner. In her sub-matriculation year she was named Dux of Class and the following year successfully matriculated and gained honours in music at the same examination. While at school she also obtained certificates for music from the Music Association of Victoria, Trinity College of Music, London and the Royal Society of Music, London, having passed the senior grade in pianoforte. Aggie clearly had considerable musical ability.
Aggie often performed at the Presentation Convent’s Annual Distribution of Prizes functions and the Convent’s annual pupils’ concerts, either singing, playing pianoforte selections or as 1st violinist. While Aggie and other family members received tuition in music, and piano lessons, only Aggie showed an interest in acting.
When Aggie and her sister Mabel, three years her senior, were at boarding school, their eldest sister, Mary who was married and living close to the Convent school, provided a family base for the girls and helped arrange regular visits to their home in Shepparton.
Aggie was also involved in musical activities outside of school, and with Mabel performed a pianoforte selection at the July 1896 Shepparton Bowling Club Social, a club where their father was President; Aggie had just turned fifteen. Also at Shepparton, a few years later, Aggie played Schumann’s Novelette No. 1 at the Star Theatre in aid of the Shepparton public library fund, and at a Shepparton wedding the next year, which was a grand social occasion, Aggie sang Schubert’s ‘Ave Maria’.
After Aggie finished her secondary schooling she went on to the Melbourne University Conservatorium of Music for further studies, and her extra-curricular musical functions continued. On one occasion she sang at the Melbourne University Society Club and Engineering Society ‘at home’ function, and was said to have a remarkably fresh, sweet soprano voice. She also performed at the Melbourne University Conservatorium advanced pupils programme of music and song at the Melbourne Town Hall in December 1902 and at the University Students’ Concert in Wilson Hall the following March when she was enthusiastically encored for her singing. Aggie was one of two vocalists to perform at the Melbourne University Conservatorium Concert in mid-July 1903 when she sang ‘Die junge Nonne’ (Schubert) and ‘Widmung’ (Schumann).
While these and several other references acknowledged her accomplishments as a musician and vocalist, only press reviews to one of Aggie’s early-stage performances have been found. It was her role as the housemaid ‘Jane’ in a comedietta—Such is Fame, in a program of items held at the Independent Hall, Russell Street, Melbourne in July 1902 to raise funds for a tennis court at the Trinity College Women’s Hostel. Reviewers praised her performance:
“It was difficult to realise that Miss Thorn is an amateur, so capital was her acting and by-play. She has undoubted genius for soubrette acting”, wrote The Arena.2
Table Talk agreed: “The pretty little girl who took the part of the housemaid struck a rich patch of low comedy ‘liveliness’. She played the part with great dash and verve, it being in every way a distinct and pleasing surprise. Her name was Miss Agnes Thorn. The young comedienne who played the housemaid also played a Chopin selection. She seems to be rather a versatile young lady.” 3
“The item of the evening was a comedietta, entitled Such is Fame, given by three of the Trinity Hostel students—Miss Agnes Thorn, Miss Miller, and Miss Sproule—assisted by Miss Beatrice Norman. It was most amusing, very well played … Special mention should be made of Miss Agnes Thorn’s rendering of the housemaid Jane; it was a perfect piece of character acting, and complete to the smallest detail”, commented Melbourne’s Punch.4
Perhaps her role as ‘Jane’ and the glowing reviews of her performance encouraged Aggie to pursue a stage career, a dream she had since childhood she told the Gadfly magazine on her announcement to leave the stage: “when I was just a child I wanted to go on the stage, but my people wouldn’t hear of it ... I was in a convent for years, and all stage ambitions were knocked out of me there.” 5
After her father’s death in May 1903, she was, she said, “obliged to earn my living”. “I first got a position in a Melb. Music house correcting manuscripts at a £1 a week. What was the use of a pound? I decided to go on the stage and see if I could earn more.” 6 And this did eventuate. Aggie’s role in the comedietta and her continuing participation in Conservatorium performances was noted in theatrical circles and led to Aggie’s engagement with George Musgrove’s Comic Opera Company, an arrangement noted by The Bulletin:
A University Conservatorium star has been engaged by Manager Musgrove for the Comic Opera boards—Miss Aggie Thorn. The engagement is clinched and Miss Thorn goes to Maoriland to take her first stage strut there. Conservatorium records place the name of Miss Aggie Thorn high. She has a taking mezzo-soprano warble, with much arch expression thrown in.7
May Beatty, leading lady with the Musgrove Comic Opera Company. Photo by Talma.
David Elliott theatrical postcard collection, National Library of Australia, Canberra
Gustave Slapoffski, musical director of the Musgrove company
Auckland City Libraries
Edward Lauri, an experienced member of Musgrove’s Comic Opera Company, with responsibility for the chorus work saw Aggie’s potential and accepted her as a member of his chorus. Although, in her interview with the Gadfly, Aggie recalled being most indignant at the time with the offer of a chorus role, her expectations were for something much grander. Aggie joined the chorus and was a member of the Musgrove Company which undertook a three-month tour of New Zealand with a repertoire of The Fortune Teller, The Serenade, Fra Diavolo and The Daughter of the Regiment. The tour opened at His Majesty’s Theatre, Auckland on 25 August 1903 with The Fortune Teller.
It was Aggie’s first trip abroad, she had just turned 22 years of age. Other members of the Company included May Beatty, (in place of Madame Slapoffski), Lillian Green, Lillian Boanas, Bessie White, Lempriere Pringle, Charles Piddock, Foster Courtenay and Edward Lauri. Lauri, besides being responsible for the chorus and dancers, was also the stage director.
One of the venues during the tour was the Theatre Royal in New Plymouth where the Company performed The Fortune Teller on 21 September and the next day The Serenade. The Company had arrived the previous day on board the S.S. Ngapuhi. It was from New Plymouth that Aggie, who had been joined by her sister Mabel and Mabel’s toddler, Molly, wrote a postcard to her family in Melbourne.
Postcard from Aggie and Mabel, dated Sept 21st/03 N. Plymouth
Courtesy of Peter Butler
Aggie makes brief mention of the tour—“We leave here tomorrow night after the performance for Wanganui for three nights.” “I will write you all long letters as soon as we get to Wellington.”
In the first week of The Fortune Teller in Wellington, on 30 September, Aggie replaced Lillian Green in the role of Mdlle. Pom Pom (a variety actress), a role she appears to have played for the rest of the tour. Other than this principal role, Aggie was otherwise occupied as a chorus member throughout the tour.
In this her debut in a principal role, Pom Pom gave Aggie little opportunity to show her ability, but what she had to do was well done, wrote the critics. On her performance in Wellington, the New Zealand Times called her a clever young member of the Company and that her performance was an exceedingly clever one, 8 and the Otago Witness said of her performance at the Princess Theatre, Dunedin, ‘Miss Agnes Thorne, who as Mdlle. Pom Pom, acted gracefully, having an excellent light soprano voice. 9
Aggie Thorn as Mdlle. Pom Pom in The Fortune Teller. Photo by J.N. Isaacs.
From New Zealand Mail, 21 October 1903, p.43 (Supplement)
Lempriere Pringle as Sandor in The Fortune Teller
Auckland City Libraries
On their return to Australia the Musgrove Company revived The Fortune Teller at the Theatre Royal Sydney in early December 1903 for a six-night season; it had previously played at the same theatre in January. In the December production, May Beatty played the double part of Musette and Irma, in place of Madame Slapoffski, and Aggie played the part of Mdlle. Pom Pom, previously played by May Beatty. The Sydney Morning Herald noted that Aggie, “the newcomer who is pretty and dainty, enunciates well and sings with refinement, and although much more vocal power was needed yet she managed to fill the role with some acceptance”.10 An equally muted comment was made by The Australian Star: “Mdlle Pom Pom was taken by Miss Aggie Thorne, who has a rather nice light soprano voice. She acted prettily also.” 11
Away from the stage, Musgrove’s Company gave their support to a concert at a Japanese Fair on 19 December which was held to aid the building fund for the St James Hall in Phillip Street Sydney. The leading artists all sang, with Aggie’s contribution being Vanika’s song; Aggie was also an accompanying pianist for other items on the program.
National Library of Australia, Canberra
On Boxing Night 1903, J.C. Williamson’s Christmas Pantomime, The Sleeping Beauty and the Beast or Mother Goose and the Seven Champions was staged at Sydney’s Theatre Royal, running for a four-week season. Some forty performers were in the cast, which included May Beatty as Prince Charming, Olive Lenton as Princess Beauty, Fred Leslie as King Glorioso and Fred Graham as Mrs H. the Royal nurse. Aggie had a minor part as ‘Mercury’ in the ‘Cloudland’ prologue, but it was her start with the Williamson organisation.
In the new year Williamson's Musical Comedy Company revived a series of popular musical comedies at Sydney's Theatre Royal commencing with The Belle of New York on 30 January 1904. A talented group was assembled for the production with May Beatty as Violet Gray (the Belle), Fred Graham as Ichabod Bronson and Fred Leslie as Blinky Bill. Aggie was named as a cast member in press advertisements for the show as Agnes Thorn and it is probable that she was in the chorus. Aggie was given more opportunity in the revival of San Toy which opened on 27 February, being cast as Li Kiang, one of Mandarin Yen How’s six charming wives.
Soon after, Aggie was again on tour in New Zealand, this time with the George Abbott Musical Comedy Co., headed by Fred Graham as stage manager and principal comedian, with Gustave Slapoffski as musical director. Aggie had worked previously with Graham and she joined Nellie Dent, Celia Mavis, Maud Lita, Edith Burke and others in a three month tour which opened in Christchurch on Easter Saturday, 2 April 1904 with a performance of the musical comedy In Town. Aggie played the role of Master Shrimp the love-sick Callboy and as the Auckland Observer wrote: “Miss Aggie Thorne, as Shrimp, the Call Boy, wins an artistic triumph. Shrimp’s lovemaking is one of the purple patches in the piece.” 12 It was said that Aggie’s rendtion of ‘Keep Your Eye on the Call Boy’ was also well received.
While on tour the Company also staged A Gaiety Girl, with Aggie as Mina and The French Maid, with Aggie as Dorothy Travers. Aggie was applauded for her role as the charmingly naïve Dorothy Travers and as the Observer wrote, in this role she “has some of the most taking music in the comedy, and gets her full share of encores. Her song ‘Castles in the Air’, is one of the brightest things in the programme.” 13 And as Mina she was complimented in reviews on a dainty and clever performance and as noted by the Otago Press, “her pretty vocalisation and graceful dancing made her principal solo ‘When Your Pride has had a Tumble’, one of the successes of the production.” 14
In early June ‘The Stage’ section of the New Zealand Illustrated Magazine carried an article on Abbott’s, with comments on several members of the then touring company. On Aggie they wrote: “Miss Aggie Thorne who makes her first appearance under the sheltering wing of Mr. and Mrs. Graham, is a young artist of great promise. She has a sweet soprano voice of singular purity, and knows so well how to learn that she has already begun to act well. She is a native of Melbourne, with all the world before her, and unless I am much mistaken there are some big prizes in it.” 15
Abbott’s tour finished around mid-July and the on-stage performances were thought successful, however, off-stage the company was in trouble. Salaries were owing and the company was stranded in Wellington. Aid from the Wellington public and assistance by some officials of the Union Steamship Company raised enough money to send the twenty-six people back to Sydney. Later, in an action in the Wellington Stipendiary Court (10 August) Fred and Nellie (Dent) Graham sued George Abbott for £45 for salaries owing. Abbott avoided penalty because he was an ‘infant in the eyes of the law’ [i.e. he was 20 and the age of consent in New Zealand was 21].16 In the end, Abbott’s Musical Comedy Co., disbanded, Fred and Nellie Graham joined Dix’s Gaiety Company, Slapoffski sailed for Sydney aboard the Warrimoo on 23 July, and Edith Burke joined Fuller’s Entertainers. Aggie, “it is said, has secured an engagement on the other side” (presumably Australia).17
Around mid-September 1904 J.C. Williamson’s Royal Comic Opera Co., initiated a season of Gilbert and Sullivan operas at Her Majesty’s Theatre Melbourne, including Patience which last appeared in Melbourne some 17 years previously. The cast for this production was an exceptionally strong one with Florence Young in the name part, and Howard Vernon in his original character of Reginald Bunthorne. Williamson was unsure how Melbourne theatre patrons, particularly the younger generation, would take to the revival, as the aesthetic movement it satirised had long passed. However, there was a packed house for the opening on 17 September and the show attracted good audiences for the season, which ended in early October.
Dolly Castles as Patience, her debut role. Photo by Talma.
David Elliott theatrical postcard collection, National Library of Australia, Canberra
Aggie Thorn as Kate in The Pirates of Penzance
David Elliott theatrical postcard collection, National Library of Australia, Canberra
Then on 7 December 1904, Williamson specifically staged a matinee performance of Patience at Her Majesty’s Theatre to introduce Dolly Castles, a young Australian soprano, whom he had championed for some time, in the title role in her comic opera debut.
It was an outstanding debut with enthusiastic reviews from all Melbourne’s daily papers. Also new to the cast, appearing as Colonel Calverley, was Frank Wilson the English baritone and experienced Gilbert and Sullivan performer who was making his first appearance in Australia. Aggie was also new to the cast, she appeared as Lady Angela and according to the Punch review she also achieved genuine success both with her singing and her acting. 18
The revival of the Gilbert and Sullivan operas in Melbourne were so well patronised and financially successful that Williamson decided to repeat the popular operas in the Sydney Christmas season, under a new company, the J.C. Williamson’s Repertoire Co. which he had formed with the sole purpose of presenting the works of Gilbert and Sullivan. The first offering by the newly-formed company was Patience which opened at Her Majesty’s on 17 December to a full house with ‘standing room only’ available. Dolly Castles in her Sydney debut again played the role of Patience and she repeated the success she had achieved in Melbourne. So did Aggie. As Lady Angela, she was always demurely in character, and vocally sufficient, and was distinctly good wrote one reviewer. Her duet ‘Long Years Ago—Fourteen Maybe’ with Dolly Castles pleased the audience.
Live theatre in Australia was booming and there were opportunities aplenty for nascent young actresses and as The Bulletin noted, Aggie’s present engagement with J.C. Williamson is a big one and the nimble Aggie is going to shine presently as a bright particular star. She was, wrote the magazine “a pretty, apt, and more vocal edition of Maude (sic) Chetwynd”.19
After a successful run of three weeks, Patience was replaced by HMS Pinafore, which opened at Her Majesty’s on 7 January 1905 to a full house. Other than Charles Kenningham the cast was new from when the comic opera was performed some 3 years earlier and of particular interest was the Australian debut of the prima donna from the Carl Rosa Opera Company, Alexia Bessian as Josephine, the heroine of the story. Celia Ghiloni made a buxom ‘Little Buttercup’, and Aggie played the part of Hebe; popularly referred to in reviews as “Miss Aggie Thorn was a dainty Hebe”. It was not a big part, but her performance was thought creditable. Later in the year when HMS Pinafore played in other state capitals, Aggie graduated from Hebe to play the Midshipmite, a role which she continued to play in subsequent performances.
The Gilbert and Sullivan Sydney season continued with Pirates of Penzance which opened at Her Majesty’s on 28 January, but Aggie was not part of the cast as she was sent to Melbourne to play a more significant role.
Following minor parts in the Gilbert and Sullivan revivals from which she gained considerable stage experience, Aggie won the role of Yvonne in the Royal Comic Opera’s production of Planquette’s comic opera Paul Jones. This was quite a theatrical achievement as Aggie had only been on the stage for a relatively short time.
Paul Jones opened at Her Majesty’s, Melbourne on 4 February 1905 for a short run of six nights, giving Melbourne theatregoers an opportunity to bid farewell to Florence Young before she sailed to the United States. Young played the title role of the dashing privateersman, a part said to be her favourite and she played the character most effectively: “She wears the breeches manfully”, wrote The Bulletin. 20
Aggie also won plaudits from reviewers for her role as Yvonne, noting her fine soprano voice, her confident acting, and the overall aplomb in her debut performance with the Royal Comic Opera Company. Her performance had been eagerly anticipated by the Melbourne audience and the reception she received, especially for her duets with Young and with Claude Bantock who played her uncle, Bicoquet, acknowledged that she had fulfilled all their expectations. The Argus, for instance commented that Aggie “sang her music sweetly daintily, and with the finish and sincere feeling that always takes captive the heart of an audience”. And the New Zealand Sporting and Dramatic Review wrote that Aggie shared performance honours with Young, noting that she had only recently been placed in the ranks of the principals, and that her selection as Yvonne was quite justified. The review continued, “True that she has much yet to learn of stage repose, but her performance as a whole was natural and convincing, and her songs proved the possessor of a pretty voice. Her solo commencing ‘Before the Altar Kneeling’ was beautifully given, as also was ‘A Vision Divine’.” 21
Her performance led some reviewers to suggest that Aggie could develop into a brilliant comic opera artiste, comparing her favourably with previous performers, another, however, thought her “merely a pleasing novice”. 22
Following her performance in Paul Jones, Aggie returned to Sydney for the Gilbert and Sullivan season wth the Repertoire Co. to play Pitti Sing, one of the three little maids, together with Dolly Castles as Yum Yum and Vinia de Loitte as Peep Bo, in a one-night revival of The Mikado at Her Majesty’s Theatre on 24 February 1905. For most of the cast, including Aggie, this was their first time in The Mikado. The three little maids were delightful and at the close of the first act received floral tributes for their performances. Aggie, wrote the Sydney Evening News, made the character of Pitti Sing one of the brightest and pleasantest in the piece. 23
Photographs (undated) of Aggie Thorn as Pitti Sing in The Mikado. Courtesy of Peter Butler.
The Mikado concluded the first season of the Repertoire Company and from Sydney the Company then moved to Newcastle for a five-night season at the Victoria Theatre prior to their New Zealand tour.
By early March 1905, Aggie was again in New Zealand on tour with Williamson’s Gilbert and Sullivan Repertoire Co., joining, amongst others, Dolly Castles, Celia Ghiloni, Vinia de Loitte, Ruby Armfield, Charles Kenningham, Frank Wilson and Howard Vernon.
The three-month season opened with a performance of Patience at Wellington’s Opera House on 10 March, in which Aggie again played the part of Lady Angela, a role she continued to play throughout the season. The tour continued in Auckland, Christchurch, Dunedin and other cities throughout New Zealand with the company performing a repertoire of six Gilbert and Sullivan operas in most locations and shorter runs elsewhere. Aggie received favourable press for her various roles, with her solos in The Yeomen of the Guard, and HMS Pinafore, singled out. Likewise, her duets with Dolly Castles in Patience were applauded by the critics.
While in Auckland the Company gave a Sacred and Classical Concert at His Majesty’s Theatre on Good Friday, 21 April. The principal members were warmly applauded for their numbers which included Dolly Castles singing ‘Jerusalem’, Charles Kenningham, ‘In Native Worth’, Howard Vernon, ‘Holy City’, and Aggie singing ‘Ave Maria’. Aggie’s fine tone and sympathetic treatment of the song evoking an enthusiastic demand for an encore. 24
With the Company back in Sydney, Aggie again played the part of Phoebe Meryll in The Yeomen of the Guard which opened at the Theatre Royal on 24 June 1905 after an absence of some seven years. As Phoebe, which Aggie considered her favourite, and most dramatically challenging role, she displayed vivacity and enthusiasm. In her coquettish portrayal of Phoebe, the critics noted her growing confidence and competence in her acting and singing. “Miss Aggie Thorn came into unexpected prominence by her clever interpretation of Phoebe … It is doubtful if the lines have ever been better delivered”, wrote the Sydney Morning Herald critic. Both her solos, the exquisite opening song, ‘When Maiden Loves’ and ‘Were I Thy Bride’ were delivered with style and her trio, ‘Alas! I Waver To and Fro’ with Walter Whyte (Leonard Meryll), Frank Wilson (Sgt. Meryll) also proved captivating. 25
On her role as Phoebe, The Australian Star was especially laudable. After noting the excellent performance by Charles Kenningham as Colonel Fairfax, the review continued: “the second honours for ‘individual merit’ fell to Miss Aggie Thorne, who has now established her claim to be ranked as one of the cleverest young musical comedy actresses in Australia.” The review continued: “We have never had a more captivating Phoebe Meryll. There is a delightful dash of originality about Miss Thorne’s work …”. 26
Aggie Thorn as Tessa in The Gondoliers. Photographer unknown.
Elisabeth Kumm Collection
Cast list from the program for The Gondoliers
Frank Van Straten Collection
The season followed with The Gondoliers with Aggie as Tessa and Dolly Castles as Gianetta the two contadine, and the Repertoire Company’s successful season at the Theatre Royal concluded on Friday 14 July with The Mikado where Aggie repeated her original role.
An aspect of the season that was particularly applauded by the critics was Williamson’s willingness to use young emerging Australian talent, rather than the previous heavy reliance on imported performers. Aggie was among this group of artistes and she was regularly complimented on her contribution to the Repertoire’s success, particularly praiseworthy was the comment by ‘The Don’ in Punch who wrote that Aggie’s success as Tessa in The Gondoliers was even greater than her success as Phoebe in The Yeomen of the Guard.
‘The Don’ continued:
Happily free from the vice of imitation, this young Australian has come to the front with astonishing swiftness. Within a week she won a high place in public favour, and she may now be described as one of the favourites of the footlights. It is a veritable triumph of talent. Miss Thorne’s charm lies in her youthful freshness and her pleasing and persuasive style, both in singing and in acting. Besides being very bright and natural in all she says and does the new star of the Repertoire Company appears to have an uncommonly fine sense of humour. With her the capacity for comedy is a gift. At every point the new Tessa was successful on Saturday night, and had the applause been measured her share would have been found to be greater than that of any other person on the stage. ‘When a Merry Maiden Marries’ was a little gem, and Miss Thorne later helped to gain the encore when the quartette, ‘In a Contemplative Fashion’, was sung.27
After Sydney, the Company performed in Brisbane, then Melbourne, Adelaide, and Western Australia. Aggie performed well at all venues and as often noted in the press “the petite and clever soubrette” was a popular favourite wherever she performed.
To be continued
Endnotes
1. Critic (Adelaide), 31 January 1906, p.22. Wills also issued a black and white set with the same title and same issue date, but mainly different celebrities. In this set the portraits are framed. Some of Aggie’s fellow Gilbert and Sullivan performers are in this set, including Celia Ghiloni and Olive Godwin.
2. The Arena (Melbourne), 31 July 1902, p.18
3. Table Talk (Melbourne), 31 July 1902, p.19
4. Punch (Melbourne), 31 July 1902, p. 29
5. Gadfly (Adelaide) 21 November 1906, p.18 on her announcement to leave the stage
6. Gadfly (Adelaide), 21 November 1906, p.18
7. Bulletin (Sydney), 27 August 1903, p.14
8. New Zealand Times, 3 October1903, p.11
9. Otago Witness, 4 November 1903, p.61
10. Sydney Morning Herald, 7 December 1903, p.3
11. The Australian Star, 7 December 1905, p.7
12. Observer (Auckland), 30 April 1904, p.6
13. Observer (Auckland), 14 May 1904, p.6
14. Otago Witness, 8 June 1904, p.6
15. New Zealand Illustrated Magazine, 1 June 1904, p.229
16.See for example New Zealand Times, 10 August, 1904, p.3 and Auckland Star, 11 August 1904, p.5
17. The Wairarapa Daily News, 22 July 1904, p.7
18. Punch (Melbourne), 8 December 1904, p.14
19. Bulletin (Sydney), 15 December 1904, p.16
20. Bulletin (Sydney), 9 February 1905, p.10
21. New Zealand Illustrated Sporting & Dramatic Review 23 February 1905, p.18
22. Bulletin (Sydney), 9 February 1905, p.10
23. Evening News (Sydney), 25 February 1905, p.2
24. Auckland Star, 22 April 1905, p.6
25. Sydney Morning Herald, 26 June 1905, p.3
26. The Australian Star (Sydney), 26 June 1905, p.2
27. Punch (Melbourne), 6 July 1905, p.31
References
Peter Butler, The Life and Career of Agnes Mary Gertrude Thorn—An unpublished account of the Thorn family from the perspective of their youngest daughter, Aggie, February 2021.
Vinia de Loitte, Gilbert and Sullivan Opera in Australia: Being a short account of the stories of the operas and their production and revivals in Australia, 1879-1933, Ninth Edition, Whitmarks Ltd., Sydney, [1933]
The Gilbert and Sullivan Repertoire Company: A souvenir of the company's 1905 tour under the direction of J.C. Williamson, Syd. Day, Melbourne, n.d.
Nick Murphy, Forgotten Australian Actors—Joan Wetmore—the flashing brunette with the charming voice
Nick Murphy, Forgotten Australian Actors—Enid Bennett—the Australian who kept her accent
Papers Past New Zealand
Trove
Thanks to
Elisabeth Kumm and special thanks to Peter Butler for his willingness to allow use of the Thorn family history. Peter’s maternal Great Grandmother Mabel was Aggie’s sister.
