Beatrice Holloway

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

On the 17 november 1906Meynell, Gunn & Varna’s New English Comedy Company commenced a short season at the Palace with the three-act farcical comedy The Little Strangerby Michael Morton. With the play’s withdrawal on 7 December, W. Arundel Orchard’s comic opera The Emperorwas revived for a single night on Saturday, 8 December.

The theatre remained dark for a fortnight pending the ‘first appearance’ in Australia of comedian Harry Macdona in The New Boyon 22 December 1906.

Written by Arthur Law, this three-act farce had been seen in Australia during 1894 with Ralph Roberts as Archibald Rennick. Since its first production in London that same year, with Weedon Grossmith in the title role, it had enjoyed much success throughout the UK and America.

John Cosgrove, c.1910, who was a member of the Macdona company and Harry Macdona’s brother. Photographer unknown.

State Library of New South Wales, Sydney

Weedon Grossmith who created the role of Archibald Rennick in The New Boy, 1894. Photo by Hills & Saunders.

National Portrait Gallery, London.

In addition to Macdona, who played the eponymous ‘new boy’, the second husband of Mrs. Bolder, who somewhat younger (and smaller in stature) than his wife, is mistakenly believed to be her son. For various reasons, he is prepared to go along with the assumption and is enrolled at a local school. In reviewing the play, the Sydney Morning Herald reported:

A gentleman whose name was announced as Mr. Harry Macdona took the part of Archibald Rennick, the new boy, and Miss Vera Remee was Mrs. Rennick. Miss Remee may not have all the arts and graces of a highly finished actress, but she carried herself through her part with more than credit. She was natural, enunciation was clear, and distinct, and she was not in the least stagey. Mr. Macdona, on the other hand, was not a thorough success. He was boisterously rollicking throughout, and though he was expected to do a good deal of fooling, he did some of it too well.¹

As the Herald alludes, the claim in the ads that Macdona was a ‘distinguished English comedian … known throughout the length and breadth of the United Kingdom as the Greatest Laughter Producer of the modern stage’, ² seems to have little validity. The only acting Macdona on the UK stage during the early 1900s (as listed in theatrical journals/directories of the period) seems to be Charles Macdona, an Irishman, who would go on to establish the Macdona Players and become a champion of George Bernard Shaw. A small mention of the 1906/07 Palace season in the UK-theatre journal The Era, refers to Harry Macdona as a ‘Sydney comedian’.³ Indeed, closer investigation suggests he was none other than Tom Cosgrove, a local actor, whose brother John Cosgrove was also a member of the company. It is not clear why he changed his name as over the following few decades he can be spotted performing under both names.

Harry Macdona and company in a scene from The New Boy, 1907. Photo taken by Albert E. Gregory during the company’s season in Bathurst, NSW.

Bathurst City Library

Nevertheless, despite some lukewarm reviews of opening night, The New Boywas not a complete failure. The Bulletin noted for example: ‘At Sydney Palace Harry Cosgrove Macdona continues to give sparkle to the comedy of The New Boy. The Boy is having quite a run, and the people who a few weeks ago were merely good amateurs are now getting a professional touch in the quality of their performances.’⁴

On the 12 January, the company produced Jane, and on the 28 January, Dr. Bill, both farcical comedies that had been performed back in 1890 by the Brough-Boucicault Comedy Company.

‘Ned Kelly Shoots Fitzpatrick’: scene from The Story of the Kelly Gang, 1906

National Library of Australia, Canberra

‘Capture of Ned Kelly’: scene from The Story of the Kelly Gang, 1906

National Library of Australia, Canberra

With the departure of Macdona and co., concert and film promoters J. & N. Tait returned with the film The Story of the Kelly Gang which screened from 9–23 February 1907. The film, described by the promoters as ‘one of the most realistic types of cinematography yet placed before the public’⁵ had created a sensation in Melbourne where is ran for seven weeks. It had also just completed a two-and-a-half-week season in Adelaide. Now it was Sydney’s turn. Running for just over an hour (film historians continue to debate claims that it was the world’s first feature film⁶), it occupied the second half of a two-part entertainment, with the crowded house displaying ‘considerable impatience’ during the first part.⁷ Indeed, audiences were not disappointed in the main event, cheering and clapping at its conclusion. Yet despite the crowds who flocked to the Palace, the season was limited to only a fortnight, closing on 23 February.

On the 20 and 21 March, the Bank of New South Wales Dramatic Society presented The Brixton Burglary(another comedy made popular in Australia by the Brough Comedy Company in the 1890s).

Herbert Flemming as Captain Mowbray in Mrs. Gorringe’s Necklace, 1907. Photo by Johnstone, O’Shannessy and Co.

Hat Archive

Miss Gordon Lee as Vicky Jardine in Mrs. Gorringe’s Necklace, 1906. Photo by Tuttle & Co., Hobart.

Author’s collection

On Saturday, 23 March 1907, Herbert Flemming’s company commenced a six-week season. In partnership with Robert Brough, Flemming had been joint manager of the Brough-Flemming Company, and in early 1906 following Robert Brough’s death, had taken over the reins of the organisation. Still operating as the Brough-Flemming Company they opened their season at the Palace with the first Sydney production of Mrs. Gorringe’s Necklace, a four-act comedy by Henry Hubert Davies, which the company had premiered in Adelaide in September 1906. With this piece they were making their reappearance in Sydney after a twelve-month absence. The company had just returned from a tour of New Zealand with Florence Brough (née Trevelyan) (Mrs. Robert Brough) as leading lady. The tour had been a huge undertaking emotionally and mentally for Mrs. Brough and as her health was still fragile following her husband’s death, she withdrew from the Sydney season. Her absence necessitated a complete change of personnel among the female cast. Newcomer Madeline Meredith stepped into the role of Mrs. Gorringe, while Beatrice Day (the original Mrs. Gorringe), now played Isabel, one of Mrs. Jardine’s daughters (previously played by Kate Gair). Miss Gordon Lee continued as Vicky Jardine, her other daughter. Robert Brough’s sister Bessie Major made a welcome return, taking on the role of Mrs. Jardine, originally performed by Mrs. Brough.

When Mrs. Gorringe’s Necklacewas first performed at Wyndham’s Theatre in London in 1903, the title character was considered the lead role, with Mary Moore as Mrs. Gorringe and Charles Wyndham as Captain Mowbray (played in Australia by Herbert Flemming). Under Flemming’s direction, Mrs. Jardine was considered the principal female role as the personality of Mrs. Gorringe (whose necklace is stolen at Mrs. Jardine’s house-party) is considered a silly and flighty character, whereas Mrs. Jardine is more grounded and sensible—and admirably better suited to the persona of Florence Brough.

An interesting aside concerning Madeline Meredith who played Mrs. Gorringe in Sydney. Born Madeline Constance Tudway in 1873, she was the only daughter of Charles Clement Tudway and Lady Edith Nelson (daughter of Lord Horatio Nelson)—and consequently a member of the British peerage. But rather than follow family tradition, she decided to pursue a career on the stage, making her debut in 1892. She came to Australia in 1906 as a member of the Julius Knight-Maud Jeffries company (and was with them during their 1906 Palace season) and since that time had been playing second leads with the Meynell-Gunn company at the Criterion Theatre.

A scene from Dr. Wake’s Patient, Act III, with Mrs. Brough as the Countess of St. Olbyn (right), 1906. In Sydney the role was played by Madeline Meredith. Photo by Talma & Co., Sydney and Melbourne.

State Library Victoria, Melbourne

Miss Meredith’s performance in the Brough-Flemming Company’s next piece, a revival of Dr. Wake’s Patienton 6 April 1907, was much anticipated. Would she be as good as Mrs. Brough in the role of the Countess of St. Olbyn? Perhaps breeding would help. As noted by The Australian Star: ‘Her conception of the part was excellent, and she was equal to every emergency called for in the representation of the haughty and altogether selfish countess.’⁸ Other roles were filled by Herbert Flemming as Farmer Wake (his original role), with Carter Pickford as Dr. Wake, Beatrice Day as Lady Geronia, Bessie Major as Mrs. Wake, and Mary Milward as Mrs. Murdoch.

Scene from the London production of Peter’s Mother with Marion Terry and A.E. Matthews, 1906. Photo by Ellis & Walery, London.

Victoria & Albert Museum, London

Beatrice Day, c.1906. Photo by Alice Mills, Melbourne.

National Library of Australia, Canberra

The following Saturday, 13 April 1907, Peter’s Mother was presented for the first time in Australia. Mrs. Henry de la Pasteur’s three-act comedy had just closed in London after 149 performances, with Marion Terry (sister of Ellen Terry) as Lady Mary Crewys. Sydneysiders hoped that Mrs. Brough would make her reappearance, but she did not, and the role was played by Beatrice Day. Carter Pickford played her son, Peter, with Bessie Major as Lady Belstone, Herbert Flemming as John Crewys QC, and Miss Gordon Lee as Sarah Hewell.

Peter’s Mother was performed for a fortnight, and on the 27 April, another new play was given its Sydney premiere: What Would a Gentleman Do?

Cartoon by an unknown artist. This was published in The New Zealand Mail, 13 February 1907, during the Brough-Flemming Comedy Company’s recent tour.

A comedy by Gilbert Dayle, this play had brief run at the Apollo Theatre in London during September 1902. Prior this, under the title The Man from Australia, it had been seen at the Princess Theatre in Llandudno (Wales) the previous April. As What Would a Gentleman Do?,it had its first Australian outing in Perth in August 1906 with Herbert Flemming as Dickie Hook—the man from Australia—a wealthy but unsophisticated young Australian in England, who with the aid of The Complete Gentlemanattempts to understand the manners and customs of polished society. Other roles were played by Florence Brough (Agatha Kederby), Beatrice Day (Madge Kederby) and Emma Temple (Dolly Banter).

For the first Sydney performance Gregan McMahon now played the young would-be gentleman. Audiences sympathised with poor Dickie as his attempts at assimilation failed and he grappled with the problem of ‘What would a gentleman do?’. A complete change to the female roles saw Beatrice Day as Dolly Banter, Bessie Major as Agatha Kederby and Miss Gordon Lee as Madge Kederby. The curtain-raiser In Honour Bound by Sydney Grundy was also performed with Beatrice Day and Herbert Flemming as Sir George and Lady Carlyon.

Beatrice Day as Susan Throssell in Quality Street, c.1905. Photo by Alice Mills, Melbourne.

Author’s collection

Henry Irving as Dr. Primrose and Ellen Terry as Olivia in Irving’s 1885 revival of The Vicar of Wakefield. Photo by Window & Grove, London.

Victoria & Albert Museum, London.

Two revivals followed, The Walls of Jericho (11–14 May) and Quality Street (15–17 May) with Beatrice Day as the heroine in each of these plays. The season closed with the first Australian production of Olivia, a play by W.G. Wills, based on The Vicar of Wakefield, and first performed in London in March 1878 with Hermann Vezin as Dr. Primrose and Ellen Terry as Olivia. A 1885 revival saw Henry Irving as the vicar with Ellen Terry again as Olivia. In Sydney, the play was directed by H.W. Varna (previously associated with the Meynell, Gunn and Varna company), who was said to be using a copy of Irving’s original script containing his marginal notes and directions.⁹ As Olivia, Beatrice Day was commended for her finished performance as the pretty muslin-clad heroine, supported by Herbert Flemming as Dr. Primrose.

With the close of the season on 31 May, Herbert Flemming re-badged the company as the Herbert Flemming Comedy Company and headed north for a tour of Queensland. Although his company would play one more season in Sydney during 1908, Herbert Flemming sadly died in October 1908, aged just 52.

The following evening, Saturday, 1 June, saw a change of pace with Charles Holloway’s company. Their opening piece was the melodrama The Coal King by Ernest Martin and Fewlass Llewellyn for the first time in Sydney. This play had first been performed at the Elephant and Castle in London in October 1904 and had enjoyed a successful provincial career. The first Australian production had been given at the Theatre Royal in Hobart by Holloway’s company in November 1906.

Beatrice Holloway and Mabel Russell as Dick and Wally, the title characters in the melodrama of Two Little Vagabonds. From The Theatre (Sydney), September 1906. Theatre Heritage Australia.

Charles Holloway’s company excelled at melodrama, and The Coal King was true to form. Tom Roberts, the son and heir of a mining magnate is brought up in humble circumstances, having been swapped at birth with his foster mother’s real son. Working in the colliery Tom has risen to the position of mine-manager. He is love with the village schoolmistress, Grace Shirley, which earns the enmity of Walter Harford, the fake heir, who is cruel and vindictive. Tom manages to avoid being accused of a crime he didn’t commit and a mine collapse to win the hand of Grace and his rightful position as the real son of the mine owner. Beatrice Holloway played Grace, with Robert Inman as the hero and Godfrey Cass as the villain.

The 1860 Irish drama The Colleen Bawn by Dion Boucicault followed on 15 June for six nights only, with John P. O’Neill as Myles-Na-Coppaleen (with songs) and Beatrice Holloway as Eily O’Connor.

The final seven nights of the season saw a revival of Two Little Vagabonds with Beatrice Holloway reprising her original role as Dick, one of ‘little vagabonds’. The other, Wally, was played by Mabel Russell.

On Monday, 1 July 1907 the Empire Pictures Co., under the direction of Edwin Geach, commenced a season of films presenting for the first time in Sydney scenes of ‘Bonnie Scotland’ and ‘Dear Ould Ireland’. On 15 July, they were supplanted by ‘Canada As It Is’ and ‘Magnificent Naval Display’ (depicting a torpedo-destroyer and submarine flotilla attack).

Florence Baines as Mary Ellen Thompson in Miss Lancashire Ltd., c.1907

National Library of Australia, Canberra

Poster for The Yellow Peril, Palace Theatre, Sydney, 5 October 1907

National Library of Australia, Canberra

On Saturday, 3 August 1907, music hall artiste Florence Baines made her first appearance in Australia. Accompanied by a company of fifteen English artists, she opened in an original musical play entitled Miss Lancashire Limited. This was performed with success throughout the English provinces during 1905 with Baines as Mary Ellen Thompson, a Lancashire parlourmaid who changes places with an heiress. The farce, written by Sydney Sydney, (yes! this was his name) was liberally interspersed with songs and ditties to demonstrate Florence Baines’ talent as an entertainer, including her popular ‘Laughing Song’. A lady of generous proportions, she was a larger-than-life figure, and her magnetic performance style earned her the title ‘the girl who set London laughing’. She proved one of the most popular attractions at the Palace in recent years.

Miss Lancashire Ltd. played to capacity audiences at the Palace until 1 October 1907—an extraordinary 59 performances!¹⁰ Florence Baines and her ‘Laughing Song’ continued to keep Australia and New Zealand in stitches until July 1909 when she returned to England.

The following Saturday, 5 October 1907, saw the production of a new drama in four acts called The Yellow Perilby Alfred Newcomb. Being presented for the first time by Charles W. Taylor’s New English and Australian Dramatic Organisation, the play was described as the ‘only DRAMA on a CHINESE SUBJECT ever written for the ENGLISH STAGE’, replete with magnificent Chinese costumes and scenic effects.¹¹ According to news reports, the play’s author was a New Zealander who had spent ’22 active years in the Far East’ and was therefore an authority on the ‘Chinese question’ and the perils of inter-marriage, the theme of the play.¹² Laura Roberts played the heroine Vera Montgomery, who becomes the unhappy wife of a Chinese potentate, the Marquis Lo-Feng-Sao (Harry Diver).

Unfortunately for Taylor and his company, The Yellow Peril did not ‘catch on’ in Sydney and it was abruptly withdrawn on 15 October. As a result, the theatre was plunged into darkness.

It was re-opened for a special ‘Irish Night’ organised by Dr. Charles W. MacCarthy on Saturday, 2 November 1907. The evening was dedicated to a certain Mrs. Kevin Izod O’Doherty, an Irish woman whose story of hardship and survival earned her the sobriquet ‘Eva of The Nation’. Andrew Mack who had just concluded a successful season at the Criterion Theatre gave his services as did ‘The Australian Queen of Irish Song’ Marie Narelle who contributed to a largely amateur program of songs and monologues.

On Saturday, 9 November 1907, Carter, the Great Magician, assisted by Miss Abigail Price, made his first appearance in Australia, presenting a program of Magic, Mirth and Mystery.

To be continued

Endnotes

1. Sydney Morning Herald, 24 December 1906, p.3

2. Advertisement, Sydney Morning Herald, 12 December 1906, p.2

3. The Era, 2 February 1907, p.13

4. The Bulletin, 10 January 1907, p.8

5. Advertisement, The Daily Telegraph, 9 February 1907, p.2

6. See Graham Shirley & Sally Jackson, ‘The Story of the Kelly Gang: Restoring the world’s first feature’, n.d.; Ina Bertrand & William D. Routt, The Picture That Will Live Forever: The Story of the Kelly Gang, 2007.

7. The Australian Star, 11 February 1907, p.2. Henry William Varna (1865–1935) was an American-born, British educated theatre producer. In 1897 he joined Herbert Beerbohm Tree’s company at Her Majesty’s Theatre in London as stage manager. In this capacity he travelled to Australia to oversee the staging of Tree’s production of The Darling of the Gods with Julius Knight and Maud Jeffries. He next teamed with Meynell and Gunn and oversaw the production of The Little Stranger. During 1908, with Herbert Flemming’s Company he produced The Mummy and the Humming Bird. Settling in Australia he was subsequently associated with actor-manager Allan Wilkie and in later years ran his own dramatic school in Sydney and was a prominent member of the Actors’ Association.

8. The Australian Star, 8 April 1907, p.2

9. The Daily Telegraph, 4 May 1907, p.19

10. Advertisement, The Daily Telegraph, 1 October 1907, p.2

11. Advertisement, Sydney Morning Herald, 30 September 1907, p.2

12. The West Coast Times, 19 March 1907, p.3

References

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

Ina Bertrand & William D. Routt, The Picture That Will Live Forever: The Story of the Kelly Gang, ATOM, 2007, https://books.google.com.au/books?id=H-elDgAAQBAJ

Graham Shirley & Sally Jackson, ‘The Story of the Kelly Gang: Restoring the world’s first feature’, National Film & Sound Archive, n.d., https://www.nfsa.gov.au/latest/story-kelly-gang

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

Newspapers

The Australian Star (Sydney), The Bulletin (Sydney), The Daily Telegraph (Sydney), The Era (London), The New Zealand Mail (Wellington), The Sydney Morning Herald, The West Coat Times (Hokitika)

Papers Past, http://paperspast.natlib.govt.nz

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

Pictures

Bathurst City Library, Bathurst, NSW

HAT

National Library of Australia, Canberra

National Portrait Gallery, London

State Library of New South Wales, Sydney

State Library Victoria, Melbourne

Victoria & Albert Museum, London

With thanks to

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

Front page image: Studio portrait of Cyril Ritchard and Madge Elliott, 1932. Falk Studios, Sydney. State Library of New South Wales, Sydney.

The presentationof a new musical comedy is never without its headaches. First it is one thing and then the other. The only certainty seems to be the fulfilment of the theatre slogan, “The show must go on.”

Portrait taken during the London season of The Millionaire Kid in 1931, subsequently reproduced in publicity throughout Madge and Cyril’s 1932-33 Australasian tour. Courtesy of Frank Van Straten.Musicians may be out of harmony, producers sullen and morose, dressmakers tardy in completing their work; scenery may fall, and the lights go wrong in that dreadful period preceding a “first-night.”

The Greeks had a word for most things, but none to fittingly describe this ordeal of preparation. And so it was with Blue Roses, [1] the musical comedy in which we were to make our return bow in Sydney.

In the theatrical business there is always talk of “come-backs.” You know what I mean. Actors and actresses who have reached the heights only to tumble with such suddenness and force as to make us, as well as themselves, dizzy; who pick themselves up and climb the steep grade again exactly as though they had never climbed it. They are legion; enough to populate a small town; a “willy-willy” sweeps relentlessly upon them. Proud and majestic one moment, destitute and bereaved the next. But a few years later?—rehabilitated; reorganised. And proud and majestic.

Now, in a sense, Cyril and myself could feel for the players who had struggled and made a come-back. Of course, we had never glissaded into theatrical oblivion, but those seven years of absence from Australia would take some sweeping away. We had intended our return appearance to be very simple. It was to be neither an advertisement nor an ego parade. It was to be just “Madge and Cyril” meeting their friends, so it was rather amazing to find crowds flocking to the theatre. At the same time, this tribute to our evident popularity was very flattering; Sydney, at any rate, had not forgotten us.

I have only a blurred recollection of walking on the stage as “Susan Winslow.” Previously in my dressing-room I had felt all the old qualms of a “first night,” plus the mental agony which comes through thoughts of a doubt of recognition. I recall the footlights flickering and dancing... and the sudden welling up of sound which started as a low murmur and reached its crescendo in a terrific burst of cheering. It was all for me... In a minute the footlights were glowing normally, and I saw the conductor's baton raised. Still the applause went on... I bowed... and bowed... and bowed.

My heart glowed with the warmth of that reception, leaving no doubt in my mind that I was home again. At the end of the performance I spoke to that marvellous audience. Cyril stood by me and gave me confidence. I told them a little of my gratitude. I meant it, and I mean it still. I will always acknowledge that I am in the hands of the public, and I can never fail to marvel and wonder at its loyalty to me.

If you can imagine the inspiring effect of playing to an audience alive with sincere enthusiasm, you will know in what mood I went back to my dressing-room, and the joy I felt in contact with people who still remembered me. And here let me say that “the audience”—that comforting generality—is a much more complex thing than most playgoers can appreciate, and plays a much greater part in the success of a stage presentation than is generally thought. With a sympathetic “house” many a mediocre musical comedy can be positively entertaining, while even the best of plays is frequently unable to survive the frigid atmosphere of, say, a matinee in a more than half empty theatre.

Of course, there are audiences and audiences, although actually there is not much difference between the people who visit the theatre in the West-End of London, and those of Sydney and Melbourne. I do not care so much about what the people in the stalls think about my performance; their judgement may—or may not—be more trained and sophisticated than that of the people in the gallery—but the enthusiasm from the back of the theatre and “the gods” is what is really worthwhile. There must be something good, solid, and genuine about the opinion of men and women who will stand in a queue, sometimes cold and sometimes hot, and wait for hours to see a new production. Perhaps they realise more truly the vast amount of talent, nervous energy, and hard work that has gone to make the piece; they give the players their due even if the production happens to be bad.

* * * * * * * * * * 

London audiences ask more—and often get less—of a play than in the American theatre. American acting on the whole is less emphatic than English acting, and in New York the players are prepared to “throw things away” because they can rely on the audience taking them up.

The Australian audience is critical and demands good entertainment. Overseas opinions count for little and “the play’s the thing.” New York is essentially more “theatre-minded” than London; but not more so than Sydney or Melbourne.

When I first visited New York I was surprised that a city superbly equipped with modern architecture should have so many dowdy and old-fashioned theatres. I had expected streamlined auditoriums and some of that spic-and-span polish of the American railway terminals and the interiors of sky-scrapers. The London theatres have much larger foyers—and fewer people to fill them between the acts.

In short trips about the city I learned something of the real depression affecting America. Crowds of out-of-work men and women... seemingly with all hope gone.

All of which has nothing much to do with our return to Australia, and our appearance in Blue Roses. The bright musical piece “caught on,” and we had a delightful season in Sydney.

Act 1, Sc. 1—Hall of Septimus Winslow’s House near Leatherhead. Original London scenic design by Joseph and Phillip Harker duplicated for the JCW production; photography by Stage Photo Co.

National Library of Australia, Canberra

Act 2, Sc. 1—Lady Wynyard’s Mayfair Flower Shop. Original London scenic design by Joseph and Phillip Harker duplicated for the JCW production; photography by Stage Photo Co.

National Library of Australia, Canberra

On May 13 we opened in the piece in Melbourne at the Theatre Royal. Once again the ordeal of a “first night”; and once again the applause and the friendly reception.

In the cast were many of our theatrical friends of long standing—Cecil Kellaway, Leo. Franklyn, Vivian Edwards, Jean Duncan, Frank Leighton, and Dulcie Davenport. And there was one young woman who since has made a name for herself in English and American motion-picture studios—Mona Barlee (Barrie).

(l. to r.) Programme cast list for the Melbourne season; Cecil Kellaway and Cyril (with the eponymous blue rose); Studio portrait of Cyril and Madge, 1932

Programme courtesy of Frank Van Straten; Cyril Ritchard photo album, National Library of Australia, Canberra; and Falk Studios, Sydney, State Library of New South Wales, Sydney

Followed a year of treats coming on top of one another. We had revived Follow Through. [2] Revivals are always something of a gamble, but this modest little thing was quite successful. At this time I was always meeting people who decried the theatre and all its works, claiming that it never would survive the attack of motion pictures. With the best will in the world—for I tend to react adversely against “popular” enthusiasm myself—I could never agree with them. I find it difficult to understand the state of mind which prompts people to suggest that films will kill the stage. It is like claiming that aeroplane transport will kill the motor trade, or put steamships out of the Australia–England run. There is a need for both forms of entertainment. So why confuse the two states of mind.

In July, 1933, we again appeared at the Melbourne Theatre Royal, this time in a revival of The Quaker Girl, [4] which when originally produced had a run throughout Australia almost equalling the success of its companion play, Our Miss Gibbs. [3]

It is rather strange in looking back to find how in a few short years a play can become “dated.” The “Firm,” realising this, modernised the production, and the demure Quaker Girl was presented against a background of lavish ensembles and gorgeous fashion displays. Cyril, by the way, played Leslie Holland’s old part of “Tony Chute,” and I filled Blanche Browne's original role of “Prudence.” This is a delightful part to play, and enacting this role night after night I came to the conclusion that acting is not so much inspiration as artifice. It does not matter how inspired an actress may be, all her inspiration goes for nothing unless she has the artifice with which to “put it over.” Many a time previously I had thought along these lines, but the joyful little Prudence convinced me of the truth of this theatre maxim.

(l. to r.) Programme cast list for the Melbourne revival; Cyril as Tony Chute and Madge as Prudence; Theatre Royal, Melbourne, 1933

Programme courtesy of Frank Van Straten; photos from National Library of Australia, Canberra & Royal Historical Society Victoria, Melbourne

This same year (1933) England beckoned to us again. Call it wander lust-ambition, opportunity, what you will—but a restlessness possessed both Cyril and myself, and the old debates between us were resumed. Should we go to England? Should we stay in Australia?... England won. We felt a certain amount of initiative which implied a living in the theatre, whether it was in Sydney, London, or New York.

So off we went by way of America.

We looked upon it in the light of a holiday trip—for the time being at any rate. The Mariposa made me feel something of envy for the old Flying Dutchman—made me feel that it would be wonderful to roam the seas for all time—as a saloon passenger, of course.

In Honolulu we renewed several acquaintances, and there followed a round of dancing, visits to the naval depot, lazing in the moonlight at Waikiki, and a little golf at Waitai. We travelled on the Lurline to San Francisco, and one of our fellow passengers was Edna May Oliver, the motion-picture actress, whose “sniff" you all know. She was very quiet on the voyage and seldom ventured far from her cabin.

(l. to r.) Edna May Oliver, Mona Barrie, Herbert Marshall and George Barraud

Portraits from Internet Movie Data Base

One night in Frisco we decided that our next stop would be Los Angeles and Hollywood, where we could see for ourselves something of the glamour of the picture studios. Here we met Mona Barrie, who had played with us in Blue Roses, and through her we received many invitations to meet film stars. We called on Herbert Marshall whom we had known in London, and had several meetings with George Barraud (who had returned to America after his Australian tour with Isobel Elsom in Private Lives). [5]

I have pleasant memories of drinking tea with Elizabeth Allen, Heather Angel, Diana Wynyard, Clark Gable, Robert Montgomery, and Reg. (“Snowy”) Baker in the commissary of a studio, and of the screen artists’ ball at the Hollywood Biltmore. [6] Here we met all the “stars”—all except the elusive Greta Garbo, who, as Cyril said, “never meets anybody.” Charles Chaplin was there, and Gary Cooper with Jeanette McDonald—who sang in the cabaret entertainment—and Adolphe Menjou.

MGM studio commissary in 1932

Private collection

Bilmore Hotel, Los Angeles, with Pershing Square in the foreground

Private collection

While in Los Angeles we were offered a dancing engagement at the Paramount Theatre, but the call of New York and London was too persistent. Just before we left, May Beatty and her daughter Bunny called, and a few minutes later Robert Greig and Beatrice Holloway dropped in. We made a regular Australian night of it. The only thing not in the picture was the Californian champagne. It was awful.

May Beatty with daughter, Bunny Lauri

Everyones, 30 January 1929, p. 4

Table Talk (Melb), 29 June 1922, p. 25

The thing that most struck me about Hollywood was that in spite of the amazing climate nearly everybody you met wanted to get away from it all. And that was not a pose. They admitted that the incessant talk of films, the terrible strain of competition, and the monotony of the work in the studios bored them to tears after a few months.

But they stayed on because their earnings were high. My own reaction to the film city was principally along the lines of living in a fairy-tale town. It is a fantastic spot... but its real values are too low for cataloguing... And so to a Pullman car, on the way to New York.

To be continued

Published in The Telegraph (Brisbane, Qld.), Wednesday, 10 April 1935, p. 15—http://nla.gov.au/nla.news-article182039125, The Chronicle (Adelaide, SA), Thursday, 9 May 1935, p. 55—https://trove.nla.gov.au/newspaper/article/92325182 and The Mercury (Hobart, Tas.), Wednesday, 24 July 1935, p. 3—http://nla.gov.au/nla.news-article30097297

* * * * * * * * * * 

Endnotes

Compiled by Robert Morrison

1. Blue Roses (music by Vivian Ellis, lyrics by Desmond Carter)—following a try-out season at the Prince of Wales’s Theatre, Birmingham from 15 December 1930, the musical (directed by Harry B. Burcher) premiered in London on 20 January 1931 at the Gaiety Theatre, where it ran for a disappointing 54 performances, closing on 7 March; nonetheless the Australasian performing rights were purchased by J.C. Williamson Ltd. and it was given its Australian premiere at Her Majesty’s Theatre, Sydney on 13 February 1932 and proved to be a successful vehicle for Madge Elliott and Cyril Ritchard. The JCW show was directed by Frederick Blackman with dances by Maurice Diamond and “Miss Elliott’s and Mr. Ritchard’s Dances arranged by Mr. Ritchard”, additionally the “Episode De Ballet” was “Invented and Arranged by Cyril Ritchard.”
   
   On the Monday following the opening the critic for the Sydney Morning Herald enthused:

“BLUE ROSES.”

Bright Musical Comedy.

MADGE ELLIOTT AND CYRIL RITCHARD.

There was a great welcome for Madge Elliott and Cyril Ritchard when they returned to the Sydney stage in the musical comedy “Blue Roses” at Her Majesty’s on Saturday night. The theatre was packed and the roar of cheering with which they were received must have proved inspiring to them, coming back from their successes abroad. They played prominent roles in the new piece, Miss Elliott as Susan Winslow, and Mr Ritchard in a bright, breezy interpretation of a comedy part as Chepstow Potts, but it was their dancing above all that won high popular favour. Light, perfect in finish and grace, both artists were superb in this dancing.

The occasion seemed to inspire all the members of the company, and a cheerful and spirited performance was given of a musical comedy which is of the average irresponsible type, designed mainly as a medium for gay melodies and pleasant fun. The great audience was in high good humour, readily responsive to every feature of the entertainment, and interrupting the action of the piece by delightedly cheering all the principals as they came on.

There is a plot, but it is not permitted to interfere unduly with all this music and comedy. It is a story of a genuine blue rose and a bogus one, which are exchanged when the real flower is carried off by an American collector, to be finally restored to the rightful owner towards the end of the evening. But the plot matters little in a piece of this kind. Some attractive music, charming in melodic invention, and not in the least profound, has been composed by Vivian Ellis, like the duet, “Let’s Be Sentimental,” lightly scored in bright vein, and with an effective change of key at the refrain, the quaint “Dancing in Your Sleep,” the spirited “Where Have You Been Hiding,” the entertaining “Lathering” of the shaving scene, and the duet, “My Heart’s a Compass.” These are typical of the tunefulness of the score, and the easy, facile touch of the composer. Mr Andrew MacCunn brought out fully the light, graceful qualities of the music, and under the supervision of Mr. Frederick Blackman as producer, the performance proceeded with sparkling effect, the stage a mass of animated colour in the attractive ensembles in the two main settings, the decorative interior of Septimus Winslow’s home and the elaborate Mayfair flower shop.

Miss Elliott and Mr. Ritchard impersonated one pair of lovers, and Miss Dulcie Davenport and Mr. Frank Leighton the other pair, all of whose fortunes are more or less affected by the fate of the blue rose. Miss Elliott proved light in voice in her music, but acted gracefully and pleasantly. Mr. Ritchard developed with certainty the humour of the role of Chepstow Potts; Miss Davenport, also light of voice in her songs, was thoroughly animated in her acting, and Mr. Leighton was effectively cast in the role of Jimmy Mallows. Mallows and his friend, Chepstow Potts, both come down to Winslow’s home on some mission concerned with the blue rose, and both make good comedy in the first act, from the moment of their entrance in a motor car. In the duet, “Let's Be Sentimental,” Miss Elliott and Mr. Ritchard gained their first success of the night, when they danced to a waltz measure, hardly seeming to touch the stage as they moved, and then suddenly changed to a rapid theme in the manner of a polka, and made a whirlwind exit which led to three recalls. When Chepstow surprised the guests by appearing in a suit of pyjamas, his resourceful friend, Jimmy, explained that he was walking in his sleep. This introduced the amusing “Dancing in Your Sleep,” in which Mr. Ritchard, under a blue spotlight, while the figures of the supporting ballet, in evening costumes, were in red tones, marched in automaton-like progression over the stage to the rhythm of the tuneful theme sung by the other principals and chorus. A laughable climax was reached in the scene when Mr. Ritchard, with a sudden swoop into the air, was raised above the heads of the others, and remained suspended in all kinds of grotesque attitudes ere he vanished into the wings.

Mr. Cecil Kellaway made the most of the role of a fatuous detective, engaged to guard the blue rose, and easily persuaded to give up the bogus one—the genuine rose having already disappeared—when he is allowed to gaze at an ordinary rose through a pair of blue spectacles. Mr. Leo Franklyn was adequately American as the collector who stole the rose, and was dispossessed of it finally in a ludicrously comical scene in a stateroom of an ocean liner, where Mr. Ritchard disguised as a caricature steward, administered remedies for sea-sickness to the American while Chepstow’s two friends feverishly searched the luggage for the missing flower. Miss Alathea Siddons as the proprietress of the Mayfair flower shop, and Mr. Arthur Cornell, as the irate owner of the blue rose, were well in character. One of the most charming features of the musical score was the duet, “I Saw the Moon Through the Window,” sung tastefully by Miss Elliott and Mr. Ritchard to an attractive counter melody for strings. Some beautifully alert step dancing for both artists followed the song, and then, with brusque chords from the orchestra, the music changed as Miss Elliott, from a flight across the stage, landed in her partner’s lap, a feat which had to be twice repeated in reply to the imperative applause. The artists appeared In another striking dancing feature towards the end of the piece, in which they were supported by six members of the ballet in brilliant dancing. The loud applause at this point was changed to screams of laughter when Frank Leighton and Cecil Kellaway (the latter in a fantastic garb resembling in a way that of Simplicitas in “The Arcadians”) amusingly burlesqued the dance. Their comedy here was much more certain than in the earlier and pointless scene in which they designed a road map, with a bottle of whisky to represent “the local pub.” The fine vocal quality of the chorus commanded attention, and the members of the ballet, always enthusiastic, shared in the honours of the ensembles, looking particularly charming in their white evening gowns. Miss Elliott and Mr. Ritchard acknowledged the cheering at the end of the performance by brief speeches of thanks.

Sydney Morning Herald (NSW)—Monday, 15 February 1932, p. 4—http://nla.gov.au/nla.news-article16840875

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The Dancing in Your Sleep number as seen in the 1931 London production; photograph by Stage Photo Co.

National Library of Australia, Canberra

Caricatures by John Frith

The Bulletin, 17 February 1932

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Sundry Shows

Her Majesty’s, Sydney, which had not seen a new play for so long that it must have forgotten there are such things, got a shock on Saturday night when the two-act musical comedy “Blue Roses”—words by Desmond Carter, music by Vivian Ellis—made positively its first appearance on the Australian stage. It brought with it Madge Elliott and Cyril Ritchard, and the rest of the cast was filled by actors and actresses so well known to Sydney that the audience gave each one a salvo of applause as he or she entered. In this chummy atmosphere the opus of Desmond and Vivian, which was nicely dressed and competently produced, went very well.

The plot is extremely complicated. There is a blue rose, which is guarded by a detective (Cecil Kellaway). It is sold by the detective for £100 to an American millionaire in plus-fours (Leo Franklyn), and a white rose dyed blue is substituted (it should be explained that the botanical specimen is in a pot). By inducing the detective to wear blue spectacles as a cure for headaches the nephew (Cyril Ritchard) of a titled lady (Alathea Siddons), who runs a flower-shop in Mayfair, is enabled to steal the dyed rose, substituting a pure-white one. Love interest is provided by the aristocratic lady’s nephew and a daughter (Madge Elliott) of the blue rose's rightful owner (Arthur Cornell). Another daughter (Dulcie Davenport) has an affair with the rose-stealing nephew's pal and confederate (Frank Leighton). The situation is made still more uproariously and devastatingly humorous by some of the characters mistaking a private house for a pub, and by an argument in which people in a florist's shop endeavor to show with a whisky bottle and other props the direction in which their old school lay from the village tavern. To describe how the tangled skein is unravelled would not only be unfair to future audiences but quite beyond this Showman’s powers.

The piece, which provides plenty of pretty stage pictures, is entirely a background for the very light and facile dancing of Miss Elliott and Mr. Ritchard. Their agility is pronounced, and they waltz divinely, but some of the postures they adopt are the reverse of graceful. The music is as shallow as a teaspoon, but deftly composed, with occasional flashes of ingenuity. The voices of the Misses Elliott and Davenport, who do most of the singing, are small, but Vivian’s twitterings were not written for Melba. Taken as a whole the piece ranks perhaps a step higher than the late Lionel Monckton's worst, but at that Monckton never had so poor a libretto to cope with.

The Bulletin (Sydney, NSW)—17 February 1932, p. 18

* * * * * * * * * * 

2. Follow Through(music by Ray Henderson, lyrics by Lew Brown and B.G. DeSylva) received its Australian premiere under the management of JCW Ltd. at the Theatre Royal, Melbourne on 8 February 1930 and ran until 14 March in a production directed by Frederick Blackman with dances by Al Fisher. The musical did not immediately tour but was staged later that year at Her Majesty’s Theatre, Sydney from 23 August to 3 October 1930 in a production directed by George A. Highland with dances by Maurice Diamond. The musical was subsequently revived at His Majesty’s Theatre, Brisbane as a star vehicle for Madge Elliott and Cyril Ritchard on 5 May 1932 and also played on tour in Adelaide and in New Zealand.

THEATRE ROYAL.

“FOLLOW THROUGH.”

“Follow Through,” which will be presented at the Theatre Royal this afternoon and evening by the J.C. Williamson Musical Comedy Company, is notable for the clever work of the principals, Miss Madge Elliott and Mr Cyril Ritchard.  There are jealous bickerings between Lora Moore (Madge Elliott) and Ruth Van Horn (Jean Duncan) over Jerry Downs (Frank Leighton), the professional golfer. Downs is employed by wealthy Jack Martin (Cyril Ritchard) and his main duty is to follow the dictates of his paymaster, but affairs of the heart must work their havoc. Jerry soon finds that Jack’s humorous blunderings are disturbing his love affairs, and the inevitable split comes. Jack, however, is the perfect optimist, and his beneficent strategy brings Lora and Jerry together again in the perfect, conventional ending. Any bashfulness possessed by Jack Martin, who is lady-shy and stutters, is soon banished by his experiences at the Bound Brook Country Club, and one of the best bits of delight in the whole show  appertains to the regaining of his heirloom ring, which he has presented to a female party of whom he knows nothing while at a masquerade. The supporting members of the company are uniformly good in their parts, and assist to build up a combination of solid strength.

The season will conclude this evening, and the company will leave on Monday for Wanganui, and later Hastings and Palmerston North, to open in Auckland on August 27th.

The Press (Christchurch, NZ)—20 August 1932

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“FOLLOW THROUGH.”

GOLF-INSPIRED GAIETY.

Exploiting the golf craze as the vehicle for a medley of vivacious action, merry quip and “wise crack,” catchy music and colourful dancing, the musical comedy, “'Follow Through,” with a revival of which the Williamson Comedy Company last night followed up their “Blue Roses” success at His Majesty's Theatre, left everyone of the audience in mellow mood. “Follow Through” has pleasant memories for Aucklanders. A typical jazz-age production of the day when golf was an obsession in America, it ran a merry course in the city some years ago with George Gee as the comedian of the day. Not everyone plays golf, but everyone hears enough about it, and its effect on the language of the victim to enable him to appreciate the play and to credit even the most outrageous parody perpetrated in the name of those who sport its insignia of plus fours and tartan colour scheme dressing effects. With the sketchiest of plots as an excuse for an entertainment cocktail and the effect of “just one damn thing after another”— comedy, dancing, jazz jingle, ballet, ballad, more comedy and a dash of drama—the concoction is really very cunningly contrived, and is both pleasant and exhilarating.

Romances and tragedies of the links, and of the patrons of one particular club, focusing on the game and heart-affairs of its lady champion, provide abundant material for music, dress, dance and mirth. Madge Elliott’s supple grace in rhythmic motion lent special interest to her dance accompaniments with Frank Leighton and Cyril Ritchard in song numbers, reaching a climax in the “dance apassionata,” in which she and Cyril Ritchard achieved one of their well-known triumphs of dramatic dance interpretations. Miss Elliott’s dancing, however good, is but incidental on this occasion in the leading role, in which she is called on for a sustained effort of characterisation, and of which she gave a very nicely-balanced study. Cyril Ritchard, too, appeared as a deal more than the dance artist he is; he was also a capable comedian. The fun-making was contributed to by many members of the cast, but Cyril Ritchard and Cecil Kellaway had the chief burden, with the latter doing the lion’s share as a new club member, who had business ideas on this game of golf, which rather put the regular members off their putt. This partnership’s efforts culminated in a surreptitious invasion of the women's dressing room and a terrific tangle of comedy complications.

Frank Leighton lent capable support to Miss Elliott in her singing and dancing numbers. Dulcie Davenport was one of the livest wires of the performance, with a special penchant for adding an eccentric touch to her bright dancing. Elved Jay contributed to the fun as one of the younger generation of nuisances, in which he was well supported by Mona Zeppel. Jean Duncan's singing, dancing and acting gave her a merited place among the principals.

The music, while not notable, is bright and snappy and is given its best value by a strong orchestra; the dressing is a feature, as is the youthful ballet, while many of the stage settings are unusually beautiful, and the ensembles generally introduce some new feature. “Follow Through,” which makes three hours pass merrily and all too soon, will be performed each evening to the end of the week, with a matinee on Saturday.

Auckland Star(NZ)—8 September 1932

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POPULAR ARTISTS TO REMAIN

Madge Elliott and Cyril Ritchard

Madge Elliott and Cyril Ritchard are to stay in Australia. This announcement was made today by Mr. Frank Tait, a managing director of J.C. Williamson Ltd., who added that the Leslie Henson management, of London, had agreed to release them until the spring of 1933.

“Hold My Hand,” a new musical comedy written by Stan Lupino, with lyrics by Desmond Carter and music by Vivian Ellis [sic], has been bought specially for them. This show has had a most successful run at the Gaiety Theatre, London, since the beginning of last December. It is faster moving and more spectacular than “Blue Roses.”

Mr. Ritchard was almost in this show in London. He was offered the male lead, and only his previous arrangements made to visit Australia prevented him from accepting it. “Hold My Hand” will have its Australasian premiere in Sydney in October, and, according to present arrangements, will be seen in Melbourne toward the end of this year.

The Herald(Melbourne, Vic.)—(extract) Saturday, 25 June 1932, p. 24—http://nla.gov.au/nla.news-article242981067

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Hold My Hand (music by Noel Gay, lyrics by Desmond Carter) premiered at the Gaiety Theatre, London on 23 December 1931 for a run of 212 performances. It subsequently received its Australian premiere by JCW Ltd. at Her Majesty’s Theatre, Sydney on 1 October 1932 starring Madge and Cyril in a production staged by Charles A. Wenman and Cyril Ritchard, with dances by Cyril Ritchard and Maggie Dickinson.

Once again the critic for the Sydney Morning Herald was full of praise in his review published on the Monday following the opening:

“HOLD MY HAND."

Charming Musical Play.

Compounded of equal parts of graceful and original dancing, sparkling songs, and dialogue well sprinkled with lively humour by the author Stanley Lupino, the musical play “Hold My Hand” had a most successful premiere at Her Majesty’s Theatre on Saturday night. While the freshness, vigour, and spontaneity of the work of all the principals, the brightness of the music, and the whimsicality of the humour carried the first act along to a fine denouement, with the interest sustained to the last moment, there were some weak links in the development of the story in the second act, where the plot toyed rashly with the inappropriate topic of industrial strife, and an uneasy feeling manifested itself in spite of the speed and energy of the acting that this was thin ice that needed to be skated over as rapidly as possible. A few judicious cuts in this section would improve the production, and there is ample justification for excisions, as the play was not over until 11.25. The second act picked up the interest quickly, when the action got back to its first environment, and a series of beautiful numbers led up to a picturesque and brilliant climax.

There is enough plot to keep the audience guessing at the problem of how it is to be unravelled. A guardian who falls in love with his ward is far from being a rarity in romantic fiction but when the guardian is represented by Cyril Ritchard as Eddie Marstone and the ward by Madge Elliott as Paula Bond, it may be confidently expected that the thing will be done not only properly, but with originality. The fact that Marstone is affianced to the graceful daughter of a disreputable old peer, who arrives on the scene straight from a fancy ball as a slightly intoxicated Robinson Crusoe, provides an obstacle which is quickly surmounted, when it is made clear that the lady prefers Pop Curry, the friend of her not very ardent lover, to the lover himself. In a play so full of happily conceived and artistically executed dances as this, the evolution of changing partners is of course, easily effected; enabling the final tableau of a double wedding to be arranged with appropriate splendour. Need it be said that the two pairs are supported by a whole sequence of subordinates, whose mission is to provide artistically exaggerated character studies of the members of the entourage of the millionaire Marstone, and to provide the songs and dances, unexpected interludes, and magnificent ensembles which help forward the story and assuage his distress when he finds that he has ruined himself on the Stock Exchange, and that the only asset left to his charming ward is a bankrupt newspaper.

As Sydney playgoers are well aware, Cyril Rltchard possesses natural gifts polished by training and experience which place the part of Eddy Marstone “right into his hand.” Along with a magnificently developed physique, he displays a lightness of foot and a gracefulness of movement that give his dancing a special Individuality. He sings well enough to give every song its full value, and his vivacity never flags. He makes an ideal partner for Madge Elliott, whose graceful movements and aerial poses in her scenes with him roused the audience to enthusiasm. Their duet, “Hold My Hand” was given with a ring of convincing sincerity. In their performance together on the wedding eve the talented pair gave a thrilling illustration of passionate devotion through the medium of the dance. Leo Franklyn, as Cuthbert the millionaire’s confidential secretary, proved himself a tower of strength to the company He was always funny, and never vulgar. His capacity for expression by facial gesture is practically unlimited. He can burlesque emotions like fear and anxiety convincingly.  Dulcie Davenport was a most engaging representative of the character of Helen Milchester, first the fiancee of Marstone and finally the bride of Pop Curry. She danced with poetic grace, and was always in the picture. Frank Leighton did an immense amount of sound work as Pop Curry, the millionaire’s right-hand man. He has a fine speaking voice, and the bright quips of Stanley Lupino’s humour with which the dialogue is well studded were delivered so that nothing was lost. Mary Rigby made a stately Lady Milchester, and spoke the tart utterances of that “grande dame” with becoming asperity. The part of Lord Milchester was taken by Cecil Kellaway, who made the peer a most amusing old reprobate, who displayed perfect manners, even when he was reduced to pawning his wife’s jewels without her permission. Rene Murphy made as much as possible out of the part of the millionaire’s lady secretary; and Margaret Vyner was a picturesque maid. The specialty dance of Zeppel and Bush was a clever bit of acrobatic fooling, which provided a foil to the many picturesque ballets with which the play is interspersed. The Pied Piper of Hamelin, with Frank Leighton as the piper, and the ballet as the rats, was a charming bit of work; while the quartette “Springtime,” sung and danced by the four principals, was the poetry of motion.

The audience manifested appreciation demonstratively at the fall of the curtain and Madge Elliott and Cyril Ritchard both made short speeches of thanks.

Sydney Morning Herald (NSW)—Monday, 3 October 1932, p. 2—http://nla.gov.au/nla.news-article16896265

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Programme cast list for the Sydney premiere season

Elisabeth Kumm collection

Hold My Hand—caricatures by Harry Julius

Sydney Mail, 5 October 1932

3. Our Miss Gibbs(music by Ivan Carryll and Lionel Monckton, lyrics by Adrian Ross and Percy Greenbank) received its Australian premiere under the management of JCW Ltd. at Her Majesty’s Theatre, Sydney on 24 September 1910 starring Blanche Brown and Langford Kirby in a production staged by Gerard Coventry with dances by Minnie Hooper. The popular musical remained in the repertoire of JCW touring productions for many years and was frequently revived into the 1920s. It was subsequently revived by JCW at Her Majesty’s Theatre, Sydney on 7 January 1933 starring Madge and Cyril in a production staged by George A. Highland with dances by Minnie Hooper.

The opening night of the revival was especially notable for the presence of a special guest in the audience, as noted by the Sydney Morning Herald:

AMUSEMENTS.

“OUR MISS GIBBS.”

The opening presentation of “Our Miss Gibbs” at Her Majesty’s Theatre to-night will be also be a gala performance in honour of Sir Charles Kingsford Smith, who will be present. This will be his last public appearance before his flight to New Zealand, and various interludes and a song, “Happy Landing,” appropriate to the occasion, will be introduced.

The cast to-night will include Madge Elliott as Miss Gibbs, Cyrll Ritchard as the amateur “crook,” Leo Franklyn as the professional “crook,” Gus Bluett as Timothy Gibbs, and Frank Leighton, Gwyneth Lascelles, Marie le Varre, Elved Jay and others.

Sydney Morning Herald (NSW)—Saturday, 7 January 1933, p. 8—http://nla.gov.au/nla.news-article16943905

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While the performance itself garnered its fair share of critical bouquets from the newspaper’s resident critic on the following Monday: 

"OUR MISS GIBBS."

An Interesting Revival.

ENTHUSIASTIC AUDIENCE.

“‘Our Miss Gibbs’ is one of J.C. Williamson's old buses,” said Mr. E.J. Tait from the stage of Her Majesty’s Theatre on Saturday, in night extending the good wishes of the directors to Sir Charles Kingsford Smith.

Traffic has become more rapid since this “old bus” was put on the road 20 years ago. The bodywork of the musical play rattles a good deal, and its upholstery of humour has worn very thin. Still, a jaunt in it is a pleasant experience, if only for old times’ sake; and the audience on Saturday night seemed to enjoy itself thoroughly, judging from the bursts of ecstatic applause.

The spectators were not predominantly middle-aged, either. Looking round the auditorium, one saw whole rows of young, or youngish, faces. Enthusiasm was perceptible almost before the curtain went up. Actors making their entrance received rounds of applause which began even while they were invisible to the audience. The players, in their turn, responded to the atmosphere of [the] gala by stepping quite out of their parts, and bowing profusely until the clapping had subsided.

The performance was a triumph, not only for familiar music and a familiar play; but also for a cast which had previously endeared itself to the local public. Again and again encores were exacted from the not unwilling singers and dancers. Mr. Cyril Ritchard and Miss Madge Elliott gave the second part of one of their dances to an obligato of almost continuous applause. The vagaries of Mr. Gus Bluett and Mr. Leo Franklyn, called forth laughter in hearty shouts. As a result of this enthusiasm, it was twenty minutes past eleven before the final curtain fell.

At the end of the play, when all the combined company had lined up to receive its flowers and make its little speeches, Mr. Tait and Sir Charles Kingsford Smith suddenly emerged behind the footlights. Already at eight o’clock, when he came into a box, the airman had had to bow repeatedly in response to clapping. The theatre had been specially decorated in his honour, with masses of coloured lily and hydrangea—another feature which added to the evening’s liveliness. Now a large placard, wishing “Smithy” a happy landing in New Zealand, descended from the files, and Mr. Tait launched into a happy speech. Australians, he said, too often failed to appreciate the fine and courageous men of their own country—a suggestion which found little support in the beaming faces and the tumultuous clapping which a moment later filled the theatre.

The part of Our Miss Gibbs, the demure Yorkshire lass who is “only a shop-girl,” and thus is scorned and rejected by her lover’s aristocratic relations, according to the best traditions of 20 years ago, was brightly played by Miss Madge Elliott. Miss Elliott’s singing voice is not a large one; but it has been so excellently trained, and she uses it with such judgment, that it never seems inadequate. In the pretty song, “Yorkshire,” for instance, she illustrated very quaintly the contrast between London sophistication and downright Yorkshire ways. Still, it is her appealing smile and her grace of movement which most surely establishes Miss Elliott in the favour of the public. All her dances with Mr. Ritchard on Saturday were artistic, according to the precedent the pair have set in “Blue Roses” and “Hold My Hand”; but in the dance of the second act, following “It's Not You,” they excelled themselves. At first, the motion was languorous, the expression on the faces serious. Then a band of revellers darted across the stage; and, in their passing, changed the mood. Faster and faster went the tempo now; but always with the most captivating grace, until at last the dancers leapt from a parapet and out of sight.

In the “silly ass” part of Hughie Pierrepont, Mr. Ritchard relied on conventional over-acting to carry him through; and, with the help of his dancing, it did. The role is symptomatic of all the humour in the play. Intrinsically, the plot of “Our Miss Gibbs” is an energetic hurly-burly about nothing in particular. All the fun has to be made from moment to moment by the comedians. “Gags” are at a premium; and on Saturday one noticed many which could not possibly have occurred in the production of 1911.

In these circumstances, Mr. Gus Bluett and Mr. Leo Franklyn were invaluable. Mr. Bluett has not done such a clever piece of acting since he appeared as the plumber in “Kempy.” As a rule, he fools and extemporises in a way that is certainly uproarious, but lies a little outside the sphere of true theatrical art. As Timothy Gibbs, he never stepped beyond his character for a moment. This innocent yokel, wearing one of the most absurd hats that have ever been seen, developed in a richly farcical vein.

Mr. Leo Franklyn’s portrait of the nimble fingered Slithers, was also exceedingly clever, in Mr. Franklyn’s individual and highly resourceful style. Mr. Frank Leighton and Miss Gwyneth Lascelles made the most of colourless parts; Miss Marie Le Varre made a welcome reappearance as Madame Jeanne; and the others who appeared included Mr. Edwin Brett and Mr. Reginald Dane; Miss Mary Rigby and Miss Lorna Forbes.

Under the direction of Mr. George Highland, with Miss Minnie Hooper to arrange the ballet, the play had been costumed in a highly attractive way, with bright, but carefully chosen colour. The setting of the first act was not unattractive. That of the Franco-British exhibition, however, after a momentary sense of spaciousness had worn off, began to seem oppressively artificial and tawdry. Under the direction of Mr. Andrew MacCunn, the orchestra enunciated the well worn old tunes with pleasant grace and freedom.

Sydney Morning Herald (NSW)—Monday, 9 January 1933, p. 5—http://nla.gov.au/nla.news-article16944190

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Caricatures by John Frith

The Bulletin, 18 January 1933

Queuing for tickers at Her Majesty’s Theatre, Sydney

Sam Hood collection, State Library of New South Wales, Sydney

Programme pages for the 1933 Melbourne revival season

Rob Morrison collection

4. The Quaker Girl (music by Lionel Monckton, lyrics by Adrian Ross and Percy Greenbank) received its Australian premiere under the management of JCW Ltd. at Her Majesty’s Theatre, Sydney on 13 January 1912 starring Blanche Brown and Leslie Holland in a production staged by Wybert Stamford with dances by Minnie Hooper. Numerous revivals by JCW followed over the ensuing years, including that which launched at the Theatre Royal, Melbourne on 22 July 1933 starring Madge and Cyril in a production staged by Charles A. Wenman and Cyril Ritchard, with dances by Minnie Hooper.

The Melbourne revival of the musical also had its share of off-stage drama, as related by the daily newspapers:

COMEDIAN’S ILLNESS

Gus Bluett In Hospital

SUBSTITUTE CHOSEN

Mr. Gus Bluett, the comedian, who collapsed at a rehearsal of  “The Quaker Girl” in the Theatre Royal yesterday afternoon, is in hospital. Mr. Ernest Arnley, an English comedian, who has been appearing in the revue “Tout Paris” at the Princess [Theatre], has been “lent” by Mr. Ernest C. Rolls to J.C. Williamson Ltd. to take his place in “The Quaker Girl.” Mr Arnley learned the words of Gus Bluett’s role of Jeremiah from midnight to 2 am today, and attended the dress rehearsal today. “The Quaker Girl” will be performed tomorrow night.

Mr. Bluett had not been well for some time. He collapsed just after a concerted number. 

Although he has played in several musical comedies in England, Mr. Arnley has never appeared in or seen a public performance of “The Quaker Girl.”

J.C. Williamson Ltd. has thanked Mr. Rolls for lending the services of Mr. Arnley in the emergency.

The Herald (Melbourne, Vic.)—(extract) Friday 21 July 1933, p. 3

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Amongst the supporting players, Ernest Arnley received his share of praise in the subsequent Melbourne newspaper reviews, as did local actress, Coral Brown in a rare appearance in musical comedy (albeit in a non-singing character role): 

MELODIES AND MEMORIES

Charm of “The Quaker Girl”

Probably the most successful revival in recent years was that of “The Quaker Girl,” which was produced by J.C. Williamson Ltd. at the Theatre Royal on Saturday evening. Few of the musical comedies of 20 years ago—and indeed of the present day—are so rich in lilting, infectious melodies and light dance numbers as “The Quaker Girl,” ”Come With Me, Come to the Ball,” the famous waltz song, and the “Dancing Lesson” duet; Prudence’s songs, “Little Grey Bonnet” and “Tony From America” and “Mr. Jeremiah, Esquire,” are a few of the irresistible melodies of Lionel Monckton’s delightful play. Everyone of them was rapturously received on Saturday by playgoers of three generations. It may be said safely that even those who did not have to look at the back pages of the programme to recall the original cast of 1912 which included Andrew Higginson, Blanche Browne, Grace Palotta, Leslie Holland, Ivy Schilling, Fred Leslie, and Bertie Wright, made no odious comparisons. “The Quaker Girl” was enjoyable as a musical comedy as it was as a revival—which is about the best thing which can be said of any revival.

From the opening scene in the Quaker village of the West of England, with its ballet of primly modest maidens, into which a French Bonapartist bride suddenly precipitates herself, to the Parisian salon of Madam Blum, and Prince Carlo’s magnificent ball at the Pre-Catalan, where the simple Quakeress’s tact saves the Princess from the clutches of the State, the musical comedy takes its time from Cyril Ritchard, who dances through the part of Tony Chute, the American attache—and indeed throughout the whole play—on winged feet.  His engaging pirouettes began with “A Runaway Match” in the first act, but they were never more delightful than in the “Dancing Lesson” duet, in which he was partnered by Prudence (Madge Elliott) in her most finished manner.  In the famous “Champagne Dance” (since apparently Quakeresses may not mingle in such worldly amusement) Mr. Ritchard was partnered by Winifred Morrison, whose youthful verve and charm made a splendid foil to Mr. Ritchard’s cosmopolitan air of distinction. Frank Leighton, as Charteris, the King’s messenger, has much to do, and he is valuable in the singing – particularly in “Wonderful,” his duet with Princess Mathilde (Kathleen Goodall) and in the stirring march number “Barbizon,” with Dulcie Davenport (Phoebe). Marre La Varre is a splendid Madame Blum, Kathleen Goodall and Ernest Arnley, whose playing of the comedy role of the Quaker Jeremiah at only a few hour’s notice was a tribute both to his craftsmanship and to his artistry. Leo Franklyn played the part of La Rose, chief of police with characteristic ability, and Coral Brown made a fiery Diane.

Nothing could be more demurely coy than Miss Elliott’s version of Prudence, the Quaker girl, nor more charming than her frocking. A feature of the production, in fact, is its gowning. Doubtless many patrons will obtain as much enjoyment from the beautiful frocks of the piece as from the fragrant bouquet of its melodies and memories.

The musical comedy is produced by Charles A. Wenman and Cyril Ritchard. 

The first matinee of “The Quaker Girl” will be given next Wednesday.

The Argus (Melbourne, Vic.)—Monday 24 July 1933, p. 5—http://nla.gov.au/nla.news-article4750596

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Stanley Parker’s caricatures

Table Talk (Melb), 7 September 1933, p. 22

“THE QUAKER GIRL” STILL FRESH AND FASCINATING

A NOTABLE PRODUCTION

Fresh and fascinating in its new dress, “The Quaker Girl” has many excellent qualities. The picturesque settings, and the smart and beautiful frocking make this a notable production, and in it Madge Elliott gives her best performance.

When Miss Elliott sang her dainty first number, “A Quaker Girl,” on Saturday night, everybody in the Theatre Royal felt that the revival would be a success. From that stage to the final curtain the performance, which had lacked spontaneity at the opening, was invested with charm and gaiety.

Several new features are given to “The Quaker Girl.” Prudence's book of confessions suits the mock solemnity of the occasion. “I Started Laughing,” written and composed by Jack O'Hagan, is a capital duet, but its modern idiom makes a sharp contrast to Lionel Monckton's simple and graceful tunes.

Miss Elliott, a very winsome Prudence, acted with spontaneity and refinement, danced with grace, and used her light soprano tones with taste.

All the dainty charm of “The Little Grey Bonnet” was revealed, and in this engaging melody the artist made her chief singing success. Miss Elliott sang her first number with charm, and gave animation to “Tony from America.”

GOOD DANCING LESSON

The dances of Madge Elliott and Cyril Ritchard are always among the highlights of any production in which they appear. “The Quaker Girl” does not afford them opportunity for much spectacular display, but their graceful movements to the changing rhythms of “A Dancing Lesson” constitute one of the most attractive dances they have given here.

A capital light comedian, and one who invests his work with polish, Cyril Ritchard, as the irresponsible Tony Chute, gave much zest to the play. Even when he did not have to move or sing, the actor was well in the picture. In the trance scene, in the last act, he gave good proof of his versatility. It was here that clever little Winifred Morrison gave a sprightly exhibition of the Champagne Dance. Mr. Ritchard also deserves recognition as C.A. Wenman's associate in the work of putting “The Quaker Girl” on the stage.

In cleverly fantastic make-up, Leo. Franklyn was capital as the volatile Chief of Police, and may claim a large share in the success of the revival.

Ernest Arnley, who took the role of Jeremiah at short notice, because of the illness of Gus Bluett, well sustained his conception of the character, and did not need any prompting. Working on quiet lines, Mr. Arnley soon gained confidence. His comedy improved as the night advanced, but better than it was his nimble dancing. The dance which followed his number, “Just as Father Used to Do,” was loudly applauded.

SPONTANEOUS SOUBRETTE

In the soubrette role of Phoebe. Princess Mathilde’s maid who endeavors to prevent Jeremiah from straying, Dulcie Davenport acted with great vivacity and a considerable amount of charm. This young actress has improved immeasurably in the past year. Her dancing always gives pleasure.

Marie Le Varre brought plenty of vigor, vocal and physical, to the role of Madame Blum, and if at times a little too boisterous she was very nimble on her feet. Her somersault caused the biggest laugh of the night.

The character of Captain Charteris was invested with an engaging buoyancy by Frank Leighton.

Frank Tarrant had not the necessary dignity and ease for an adequate portrayal of the role of Prince Carlo, and made one feel that the top note in the big number “Come to the Ball” was always a serious obstacle. Kathleen Goodall is among the few principals who have pleasing singing voices and know how to use them. Her number. “Oh! Time, Time,” was brightly rendered on Saturday and encored.

The Herald (Melbourne, Vic.)—Monday, 24 July 1933, p. 16—http://nla.gov.au/nla.news-article245409991

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Madge Elliott and Cyril Ritchard’s 1932 – 33 Australasian Tour schedule:

• Sydney—Blue Roses—Her Majesty’s Theatre from 13 February to 4 April followed by a transfer to the Criterion Theatre from 5 to 20 April 1932
• Brisbane—Blue Roses—His Majesty’s Theatre from 23 April to 4 May followed by Follow Through from 5 to 9 May
• Melbourne—Blue Roses—Theatre Royal from 13 May to 29 June
• Adelaide—Blue Roses—Theatre Royal from 2 to 11 July followed by Follow Throughfrom 12 to 16 July 1932.

• Wellington—Blue Roses—Grand Opera House from 27 July to 5 August followed by Follow Through from 6 to 10 August 1932
• Christchurch—Blue Roses—Theatre Royal from 11 to 17 August followed by Follow Through from 18 to 20 August
• Palmerston North—Blue Roses—Opera House on 24 August
• Wanganui—Blue Roses—Opera House on 25 August
• Hastings—Blue Roses—Princess Theatre on 26 August
• Auckland—Blue Roses—His Majesty’s Theatre from 27 August to 6 September followed by Follow Through from 7 to 10 September 1932

• Sydney—Hold My Hand—Her Majesty’s Theatre from 1 October until 25 November 1932.
• Brisbane—Hold My Hand—Winter Garden Theatre, Brisbane from 3 to the 9 December 1932 (twice daily) followed by Blue Rosesfrom 10 to 16 December 1932 (twice daily.)

• Sydney return season—Blue Roses—Her Majesty’s Theatre from 21 December 1932 until 6 January 1933 followed by a revival of Our Miss Gibbs from 7 January until 10 April 1933.
• Melbourne return season—Our Miss Gibbs—Theatre Royal from 13 April until 16 June followed by Hold My Hand from 17 June until 21 July 1933, then a revival of The Quaker Girlfrom 22 July until 13 September 1933.

• Sydney—The Quaker Girl—Theatre Royal from 16 September to 24 November followed by a second season of Our Miss Gibbs from 25 November to 15 December 1933.

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Between Madge and Cyril’s visit to Brisbane in late April—early May of 1932 and their return in December of that year, His Majesty’s Theatre had become the city’s principal entertainment venue devoted to British films, and so JCW made arrangements for the Brisbane season of Hold My Hand and the return season of Blue Roses to be staged twice daily at the Winter Garden Theatre in conjunction with the theatre’s usual schedule of showing Hollywood movies. Madge shared her opinion of the arrangement in local newspaper interviews at the time.

SURF, FROCKS, AND MADGE ELLIOTT.

“HOLD MY HAND” STAR ARRIVES.

A HARD WORKER.

“Playing to the picture audience is quite a new experience. I think I shall enjoy it,” said Miss Madge Elliott, the feminine star of “Hold My Hand,” the J.C. Williamson musical comedy which opens at the Wintergarden Theatre to-day. She was quite enthusiastic about the new departure, in conversation with press representatives last evening.

In addition to the gifted dancer, and her partner, Mr. Cyril Ritchard, the full company includes many favorite artists, and the show has only been slightly condensed. Since they were last in Brisbane, at the beginning of the year, Miss Elliott and Mr. Ritchard have played in Sydney and Melbourne, and in New Zealand.

With two shows a day, and rehearsals also in progress for a revival of “Our Miss Gibbs,” in Sydney, at Christmas time, Miss Elliott has little time for recreation, but she is keen on tennis, and is an enthusiastic surfer.  While staying with her parents in Sydney, Miss Elliott took full advantage of the opportunity to enjoy the surf. On her journey up, by the Kyogle mall train, she enjoyed the innovation of a surf at Coff’s Harbor. The seven weeks' stay In New Zealand was described as “short, but strenuous,” Napier, revisited, still bore tragic traces of earthquake.

Frocks are always of feminine interest, and Miss Elliott designs most of her stage costumes. She was wearing a patterned frock in geranium red, with a beret and coat in the same shade, attractively emphasising the contrast of her fair curls and dark eyes. The “Hold My Hand” frocks sound inviting, particularly an evening gown of eggshell-blue satin, relieved with Parma violet, and an afternoon frock of primrose spotted net over lime green taffeta.

Miss Elliott has no complicated recipe for her grace and vitality, she simply works hard and keeps fit with her “daily dozen,” and the happy result is seen in her dancing.

Daily Standard (Brisbane, Qld.)—Saturday, 3 December 1932, p. 1—http://nla.gov.au/nla.news-article184986306

Assorted newspaper advertisements for Madge and Cyril's return Brisbane season at the Winter Garden picture theatre in December 1932

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5. Private Lives by Noel Coward received its Australian premiere by JCW Ltd. at the King’s Theatre, Melbourne on 29 July 1933 and ran until 16 August. Following seasons at the Theatre Royal, Adelaide from 19 to 25 August and His Majesty’s Theatre, Brisbane between 9 to 19 September, its subsequent Sydney season opened at the Criterion Theatre on 7 October 1933 and ran until 3 November. The cast included George Barraud as ‘Elyot Chase’, Charlotte Frances as ‘Sybil Chase’, Isobel Elsom as ‘Amanda Pryne’, Harvey Adams as ‘Victor Pryne’ and Sadie Bedford as ‘Louise’. The play was produced by George D. Parker.

Isobel Elsom and George Barraud also played the lead roles in JCW’s Australian premiere of Her Cardboard Lover by Jacques Deval, adapted for the English stage by Valerie Wyngate and P.G. Wodehouse, at the Theatre Royal, Adelaide on 26 August 1933 (produced by George D. Parker), however it was Madge and Cyril who had performed in radio broadcasts of both plays, which had preceded the respective Australian stage premieres.

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Madge Elliott—Cyril Ritchard

Two popular theatrical stars who will be heard on Saturday in excerpts from “Our Miss Gibbs,” and on Sunday in a P.G. Wodehouse comedy, “Her Cardboard Lover.”

Miss Madge Elliott and Mr. Cyril Ritchard, … both began in Australia.

Cyril Ritchard began in the chorus; then he was given a part in a “straight” comedy at the Criterion, “The Willow Tree,” and a revival of “Daddy Long Legs;” then he joined Gladys Moncrieff’s company in “Katinka,” and then he danced with Miss Elliott for the first time in “Going Up.” He went to America, was engaged in a fortnight by Florenz Ziegfeld, the contract was transferred to Charles Dillingham, and he appeared in a revue, “Puzzles of 1925;” then he went to London, and appeared in several revues, and so on. He introduced Gershwin’s “Rhapsody in Blue,” as a ballet of 24 performers. Gershwin conducting the rehearsals, with costumes from designs by Bakst, the Russian. Then, with Miss Elliott, he did a season of “The Follies” at Monte Carlo and they were just about to return to Australia when they were offered the engagement in “Lady Luck,” which began their great success. Mr. Ritchard has appeared in several films, in “Piccadilly,” the last silent film produced. In England, in “Blackmail,” the first British talkie, in “Just For a Song,” and “A Symphony in Two Flats,” with Ivor Novello.

“Wireless Weekly” saw Mr. Ritchard in his dressing-room at Her Majesty’s, in his shoes and socks, and nothing more. He said about “Her Cardboard Lover,” which he is doing over the air on Sunday. February 12: “It is the first ‘straight’ play in which Miss Elliott and I have starred together, and, I think Miss Elliott’s first essay in ‘straight’ comedy. But musical comedy is a splendid training for ‘straight’ plays, and, indeed, while many great actresses have gone from musical comedy into ‘straight’ comedy, notably Marie Tempest, Gertrude Lawrence, and Phyllis Dare, very few have been able to go from ‘straight’ work to musical comedy.

“After ‘Her Cardboard Lover’ we hope to be able to broadcast ‘Private Lives’ by Noel Coward; we both know him, and have been in touch with him personally, and hope to get his permission to put it on. If it goes well over the air, we should like to put it on the stage, out here, before returning to England.”

Here Mr. Ritchard began to crush himself into a dress shirt for the second act of “Our Miss Glbbs,” and we asked whether it would be possible to get a similar short interview with Miss Madge Elliott. We said we should enjoy it very much. Mr. Ritchard said he was sure we would, but what about Miss Elliott?  We said we hadn't thought of that.

Wireless Weekly (vol. 21 no. 6)—(extract) Friday, 10 February I933—https://nla.gov.au:443/tarkine/nla.obj-681566292

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In the event, JCW evidently considered it more lucrative to continue to star both Madge and Cyril in musical comedies for the remainder of their 1932-33 tour and it wasn’t until 1951 that they would at last be given the opportunity by The Firm to perform in Private Lives on stage for Australian audiences.

The broadcast of Private Lives took place on Sunday, 5 March 1933 from the ABC Sydney studios of 2FC and on relay to 2NC (Newcastle), 3LO (Melbourne), 2CO (Corowa), 4QG (Brisbane), 4RK (Rockhampton), 5CL (Adelaide) and 5CK (Crystal Brook, SA) at 8.30 to 10 p.m.

An item published in The Wireless Weekly the following week (17 March) noted that:

The difficulty incurred by broadcast producers in casting their productions was demonstrated in the selection of roles for the Noel Coward comedy, “Private Lives,” which was broadcast through 2FC to the National Stations on Sunday night, March 5. 

Frank Leighton, the well-known actor, was originally cast in one of the leading parts, but after a rehearsal, the producer realised that the voices of the two principal men were very similar, and would therefore confuse listeners. Mr. George D. Parker, who produced the play, decided to include Mr. Campbell Copelin in the cast in place of Mr. Leighton, in order to give more contrast to the voices.

In a stage or film play, there would have been no need for this change, because the eye would note the physical dissimilarities of the actors, and the audience would probably fail to notice the similarities of voice. But over the air, the voice is the only guide to the various actors and actresses, and many a splendid cast has had to be changed in order to enable listeners to recognise more readily the various personalities in the play.”

The Wireless Weekly programme listing for the relay by 2BL from Her Majesty’s Theatre, Sydney on Saturday, 11 February 1933 noted that “As ‘Our Miss Gibbs’ does not lend itself to a full broadcast, like other musical plays, only excerpts will be heard. Listeners, however, will hear all the musical numbers and the dialogue that does not require action to be appreciated.” Thus the broadcast was “Interspersed with DANCE MUSIC from the Studio, supplied by the ABC DANCE BAND.”

However the success of a relay of a complete performance of The Quaker Girl from the Theatre Royal, Melbourne broadcast by 2CH (Sydney) and 2GB (Sydney) on Saturday, 12 August 1933 (from 8 p.m.) prompted a subsequent broadcast of the complete performance of Our Miss Gibbs on the closing night of Madge and Cyril’s Sydney season at Her Majesty’s Theatre on Friday, 15 December 1933 by 2GB and on relay to 3AW (Melbourne) and 4BC (Brisbane).

 

Programme listings from The Wireless Weekly detailing Madge and Cyril’s Australian radio broadcasts in 1933

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6. The first annual Screen Actors Guild Ball (attended by Madge and Cyril) was held in the ballroom of the Biltmore Hotel in Los Angeles on 13 January 1934.

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Postscript

Who could better advise WOMAN’S MIRROR readers of the chances of breaking into the limelight on London’s stage than Madge Elliott, Australia’s own Gaiety Girl, now back in her own country with the “Blue Roses” musical comedy?

The Gaiety! Of all the theatres devoted to musical comedy in the English-speaking world none is so loved as the old London Gaiety. Others—Daly’s, the Adelphi, the Winter Garden—may have their enthusiastic supporters, but the Gaiety outshines them all. When a musical comedy actress becomes leading woman at the famous old theatre in the Strand she has reached the pinnacle of her profession.

Madge Elliott has held the coveted position of lead there—joining a company of some of the most famous stage stars of all time.

Knowing, as she does, the Australian and English musical comedy stages intimately, Miss Elliott’s advice to girls here who contemplate seeking fame and fortune in London, is of value, and such advice she offers in this article.

“Firstly”, she says, “I feel that I cannot impress too strongly on Australian girls the necessity of having ample money in hand when making the venture. For a venture it is, in which luck plays a large part. 

Sketch by Esther Paterson“By ample money I mean sufficient to last for twelve months at least. Immediate success in getting an engagement is by no means assured. The theatrical profession in London is definitely crowded—especially at the beginning place, the bottom of the ladder—and girls may for a very long time be dependent on their own resources.

“This is a point I stress very strongly, for to paint a rosy picture without sketching in the difficulties to be encountered by girls travelling a great distance to a strange place far from their homes and their own people is, to my mind, criminal.

“One thing to bear in mind is that the English climate is not like that of Australia. It is easier here than it is in London to be down on one’s luck without being down in the mouth. Grey skies can be very conducive to a grey outlook on life, and in London there are sometimes grey skies for weeks and weeks on end.

“This is liable to be depressing. It certainly sounds so. But I am rather insistent on this aspect, because I do feel strongly that to dismiss the subject by saying, ‘Oh, there are great chances for our girls over there!’ and to utter a few platitudes about hard work and determination, though no doubt an easy way out, is far from fair to girls who are perhaps staking everything on the adventure.

“Forewarned is forearmed. There are great chances. Hard work and determination are necessary. And luck... But, remember, there may be weary weeks or months of waiting; of living in grey streets and colorless boarding houses far from Australia’s sunny skies and golden beaches; of the weary round of agents; of fighting your way on to buses and trams; of soul-trying homesickness.

“So be sure you have money. The knowledge that a snug little bank account is behind you is very comforting. Of course, tastes differ, but assuming that a girl is prepared to live carefully and watch the pence she can do quite comfortably for everything on three pounds a week in London. Have that for twelve months and your return fare, and your greatest worry will be removed.

“As to the hearing given to aspirants from this side—it is good. Australians have done well in London, and consequently Australians generally have created a good impression with managers. But, of course, to go there without previous stage training and experience is hopeless.

“If you can take good theatrical introductions from this side, do so. They are always useful, and are often an open sesame to an otherwise difficult door. But it is assumed that any girl ambitious enough to try to break new ground in London will have her own share of determination and push. After all, an introduction is only an introduction. It isn’t necessarily a free pass to stardom.

“Talent is essential. And by talent I mean also a thorough all-round grounding in the work. It is not sufficient for a girl to be able to walk on to the stage and look beautiful. She must be able to speak well—dance—sing—and act; to do a little of everything, in fact. 

“She must have a measure of looks and a good figure. Personality counts for more than actual beauty; but, of course, a girl must have some attraction in her appearance. Cultivate the voice as much as possible. If a dancer, have your voice trained. Managers can get plenty of good dancers over there, but good singers are not so frequently met with on the English stage as they are on the Australian.

“Australian voices generally are of a very high standard—witness the success gained by our singers overseas. And voices are what they want in England.

“Great care must be taken with speech. London managers and audiences do not take kindly to any suggestion of an accent—except, of course, for character parts—and purity of speech is insisted on.

“My own experience is that the girl who has gone through her apprenticeship on the Australian musical comedy stage is well equipped to enter the London field. The stage training here is excellent, and girls with Australian experience compare very favorably with their overseas sisters. But—and it is a big but—both training and experience are necessary before attacking the lights of London.

“Theatrical agents do not enter into the scheme of things out here, but—unless a girl has personal introductions—they are essential in London. They charge ten per cent or thereabouts for their services, and are quite good to deal with as a rule.

“It is, of course, of paramount importance that girls dress smartly and attractively. ‘Nothing succeeds like success’, and one must never look anything but successful. Clothes are cheaper in London than they are here, and are well cut and well made. Hats also are less expensive, as are stockings and lingerie. I am not so sure about shoes.  I have, since my return, been noticing the excellent and moderately-priced Australian shoes on sale in the shops here. They are as good as any I have seen anywhere.

“To sum up, I should say that girls who want to tackle the English stage from this end should make sure that they have, firstly, money; secondly, talent (with training and experience); thirdly, personality; fourthly, a good voice; and, last but not least, determination to succeed and an infinite capacity for hard work.

“If they have these, the chances are that luck will smile on them—and that I wish them with all my heart”.

The Australian Woman’s Mirror—1 March 1932 (Vol. 8 No. 14)—pp. 9 & 39

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MADGE ELLIOTT.

The following extract, taken from the Melbourne Leader, will be of interest to many residents of Toowoomba who remember Miss Madge Elliott as a small girl. The only daughter of Dr. and Mrs. Elliott, she spent several years of her childhood here, and was taught her first steps by Miss Fanny Marlay, and made her first appearance in public when as a tiny person in a pink frilly dancing frock she delighted everyone as a solo dancer at an entertainment for charity at the Town Hall. Miss Elliott and her dancing partner, Mr. Cyril Ritchard, have just returned to Australia after several very successful years in England and on the Continent. They are to play the leading parts in “Blue Roses,” which will open in Sydney shortly. When a presswoman went on board the Oronsay on her arrival in Melbourne last week, with the object of interviewing Mrs. Stanley Bruce (who, by the way, has consistently refused interviews during all the years she has been in public life) she was received with a courteous smile but the usual refusal. “But,” said Mrs. Bruce, “there are much more interesting people on board than I. Miss Madge Elliott, for instance,” And this is what the interviewer says about Madge Elliott:

“Miss Madge Elliott was having breakfast in the dining saloon with her dancing partner, Mr. Cyril Ritchard.

“She looked very cool and attractive in a charming white silk pique frock and a white felt hat. She wore a string of green and white beads looped round her neck so that the necklace fell equally from her shoulders. She smiled a welcome to the presswoman. “But it is Cyril who will have to give you the information,” she said. “I can talk a little, but he can talk a great deal.” Both proved charming people, unspoiled with the remarkable success they have had in London.

“Madge Elliott and Cyril Ritchard left Australia to try their fortune in London years ago. At least four of the shows in which they have appeared have run for a year each, and they never lacked engagements. They have danced in Paris and Monte Carlo, but most of their time has been spent in London. Mr. Ritchard has also acted for the talkies, but he gave this up, as it was too strenuous; he had to act for the talkies all day and dance at the theatres each evening. He found that though he had made good on the stage it was not taken for granted that he would be a success in the films. He had to prove his ability in this new field. He found the work very interesting, and is convinced that the English film industry will progress. Some American producers have become interested in British films, and no less a person than Fred Niblo has come to England to produce films. Miss Elliott has never tried film acting. “I don't even know if I have a film face,” she said: “I am content with stage dancing.” Margaret Bannerman, she said, is likely to make a great success on the films. She has had a test and her face is the perfect film type. She is soon to make her first picture.

“Though Miss Elliott and Mr. Ritchard have few free hours, they thoroughly enjoy visiting other theatres, and their chief regret in leaving London just now is that they will miss the wonderful production of Helen, by the German producer, Max Reinhardt. The story is from Offenbach’s La Belle Helene, but a new book for it has been written by Mr. A.P. Herbert. The chief part will be played by Miss Evelyn Laye, who Miss Elliott says, is the leading musical comedy artist in London, and “perfectly charming,” while George Robey is to star as Menelaus. Yetta, an English girl, who was until lately working as a mannequin in Paris, is to play the part of Venus. Elaborate costumes and scenery have been designed by Mr. Oliver Messel, famous for his masks. The two Australians are very sorry to be away from London for this production.

“There are thirty-five theatres running in London, and the majority attract good houses. Cavalcade, Noel Coward’s patriotic play, is such a huge success that seats for it are booked up to March. This play needs to draw big houses, for it costs no less than £3000 a week to produce. The good seats are priced at 23’/6—and still they sell. In London 8’ is considered a cheap price for a theatre ticket.”

Toowoomba Chronicle and Darling Downs Gazette (Qld.)—Wednesday, 27 January 1932, p. 3—http://nla.gov.au/nla.news-article254243808

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“ONLY THE IMITATORS SWANK”

Says CYRIL RITCHARD

Cyril Ritchard, in an article written for “The Aloysian,” the magazine of his old school, St Aloysius’ College, Sydney, says: I always think that the wireless is such a Big Thing for the Little Man. When he might be trapped in a concert hall, lacking the courage to leave or protest, or buttonholed on a street corner and have a stronger man's arguments rammed down his throat, no matter who is speaking “over the air” or singing or playing, the Little Man can rise majestically from his little arm chair, smile with the utmost disdain and with one twist of his little wrist cut off the offending braggart in the midst of his most important word. Ave, Signor Marconi! 

I had intended to devote this “article” to the subject of Simplicity and I would like to say a word or two about my meeting with it. On returning to Australia after seven years away, the main remark of most of my friends was, “You haven't changed”—and they invariably looked very relieved. I knew that did not mean in looks—because I know I have, and so do they. But apparently they expected me, because I had a fair measure of success in London and in New York at my particular game—to have a plum in my mouth and a condescension in my manner. As a matter of fact it did take me quite a little time abroad to learn the lesson that was written in very plain letters at St. Aloysius' and that is—“Be simple always—be humble—be enthusiastic about small things—be grateful for the gifts God has given you—and you will be happy.”

But no, of a naturally slow mind at grasping things, I had to travel thousands and thousands of miles, meet some of the world’s greatest men and women, talk with them, observe them and study them, to learn that little lesson. After all, if you reach the utmost pinnacle of whatever you have decided to climb and plant a flag there, the milkman will not care much, nor will the man next door. And unless you have a good publicity agent the world will not know and certainly will not care—really. But your friends will, and love you for it—so why afflict them with your ideas about yourself. Be grateful to them and love them for loving you still.  I can say that, without exception, the greater the men I met, the more simple they were. I had wonderful luck—in New York, London, Paris, Berlin and other big cities of Europe—to come into very  personal contact with greatness in every walk of life. I have been privileged to dine and wine with leaders of Thought, with leaders of Sport, with leaders of Art in all its branches, and with leaders of Religious Teaching, and always did I find them the easiest people to talk to, the most charming, sympathetic and enthusiastic. It is only the imitators, or the men of no brains that “swank.” But you, dear reader, know that already. It is just that I grasp things slowly and did not realise it for a long time.

Reprinted in the J.C. Williamson Ltd. Magazine programme issued for the Melbourne season of Our Miss Gibbs in April 1933.

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As a publicity tie-in for The Quaker Girl, Madge appeared in a fashion spread for The Australian Women’s Weekly modelling clothes from David Jones (photographed by Monte Luke). (The magazine was then in its fourth month of publication, having launched on 10 June 1933.)

The Australian Women’s Weekly, 7 October 1933, p. 22—http://nla.gov.au/nla.news-page4601856

Additional Picture References

Microfilmed photos of Madge Elliott, Cyril Ritchard and their fellow cast members from the pages of the weekly Melbourne periodical Table Talkmay be viewed on-line at the indicated webpage locations:

Blue Roses—12 May 1932, p.22—http://nla.gov.au/nla.news-page17695962

Hold My Hand—22 June 1933, p.1—http://nla.gov.au/nla.news-page17704717

Hold My Hand—“Wedding morn” ballet—29 June 1933, p.14—http://nla.gov.au/nla.news-article149547844

Our Miss Gibbs—20 April 1933, p.17—http://nla.gov.au/nla.news-page17704290

Our Miss Gibbs—“Moonstruck” pierrot costume—15 June 1933, p.22—http://nla.gov.au/nla.news-article149547667

The Quaker Girl—27 July 1933, p.1—http://nla.gov.au/nla.news-page17704953

Front cover portraits: 

Madge and Cyril—19 May 1932—http://nla.gov.au/nla.news-page17695987

Madge—13 April 1933—http://nla.gov.au/nla.news-page17704221

Cyril—20 April 1933—http://nla.gov.au/nla.news-page17704274