Christmas 1910 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first produced in Trenton, New Jersey (29 January 1909) by A.H. Woods, it attracted the ire of the local clergy and was withdrawn after just one out-of-town ‘try-out’.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 Winkle on 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 t
Poster 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
The Age (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
