Iris Roderick

The Box Hill Historical Society has in its collection a large amount of material donated by Muriel M. Thomson, the companion and executor of Iris Roderick, who died in 1971. Though forgotten today, Iris Roderick at one stage was a very well-known performer, both in Australia and overseas. This article is a brief summary of her life and career.

Born on the 20 April 1907 in East Melbourne, and registered as Iris Alberta Mockridge, she was the second daughter of Albert Thomas (Tom) Mockridge and his wife Lillie Iris née Prentice, who had married in 1905. Her younger siblings, Bruce Roderick and Lola, were born in 1909 and 1910 respectively.

Her father was a lithographer and artist, the youngest son of Geelong residents Robert Bond Mockridge and his second wife Marjorie née Strang; his family is well documented. Her mother Lillie’s family background is obscure, with possibly false information provided at her birth in Carlton in 1885, when her parents were given as Henry Prentice and Emily née Beader. Lillie’s marriage certificate, however, recorded her mother as Edith Rowe, and her birthplace as Queensland.¹

The family lived initially in the inner suburbs but moved to Canterbury, where the children attended the Canterbury Primary School.² In 1916, Tom applied to join the AIF.³ Accepted, he was moved to the Australian Flying Corps in 1917 and left for England, where he served as an aircraft mechanic. He did not return to Australia until September 1919, and it appears that the marriage did not survive the break.

Iris, aged 5

Iris, aged 11

Both Iris and her elder sister Marjorie were enrolled in classes run by Mrs William Green and her daughter Florence who ran a dancing studio, and later by the well-known Jennie Brenan.⁴ It is unclear who paid for these lessons, although the family did receive 3/5ths of Tom’s service pay. Iris first appeared professionally on stage in the pantomime Aladdin in February 1918,⁵ and later that year she and her elder sister Marjorie performed songs and dances at a fundraising children’s ball held in the Camberwell Town Hall, their mother being one of the organisers.⁶ Iris then formed the Canterbury Juvenile Players, a group which performed at many charitable functions over the next few years, under her management.⁷

In July 1921 her father was made insolvent, with debts of £85 and assets of £10. The insolvency papers reveal that money loaned in 1917 had never been repaid, rent had not been paid for months, and numerous tradespeople were also owed money. The papers also revealed that he was living apart from his wife and family, and earning an average of £10 a week. He was giving his wife £4 a week allowance, and was also covering her rent. Arrangements were made to pay the creditors off at a rate of £2 a week, and this was carried out until late in 1922, when the balance of £20 was paid off in two instalments. The reason for this hurried repayment may have been as a result of an anonymous letter that was sent to the Insolvency Court in January 1922:

Being one of the unfortunate creditors of Albert Thomas Mockridge … [I] would like to know if it is legal that this man should be allowed to buy several suits of clothes, ride about in motor cars, buy a woman that he is living with diamond rings, take a bungalow at the seaside for five weeks and let his creditors rip … ⁸

It is around this time that Iris started to call herself Iris Roderick Mockridge and soon adopted Roderick as her stage name. Her brother Bruce had Roderick as his second given name, which suggests a possible family connection, possibly from their mother’s side, but evidence for this has proved elusive.

Iris aged 14

From The Sun News-Pictorial, 14 December 1922

In July 1922, The Herald gave an extensive report of her career to date, revealing that, aged only 14, she had appeared in ‘numerous pantomimes and other productions’, including the pantomimes Mother Hubbard and The Eyes of Youth, and a one-act play, The Dumb and the Blind. The play was produced by English actress Marie Tempest, who had offered to take Iris abroad with her, to gain experience, an offer that was declined by Iris’s mother because of her young age. Tempest had also given her a small dog, to replace a pet that had recently died. The paper went on to reveal that Iris was now attached to Jennie Brenan’s teaching staff and was planning further productions by her local company.⁹

In March 1924, Iris’s mother, then named as Iris Lillie Prentice, paid £100 deposit on a weatherboard house at 40 Victoria Crescent, Surrey Hills, taking out a mortgage to cover the balance of £995. She was to pay it off at the rate of £7 a month. In September 1927, the property was transferred to Tom (who gave his address as 18 Jolimont Terrace, Jolimont), as she was obviously unable to continue the repayments. While Tom agreed to pay £3 a week to the mortgage company, he was unable to keep this up, and in April 1928 the company took them to court. By this stage the debt, with interest, had risen to £1,051. The court awarded control of the property to the company.¹⁰ Put up for auction, it failed to sell. The subsequent housing arrangements of the couple are unknown, but Iris was later to board with the family of engineer Edward Benn, at 10 Agnes Street, Mont Albert.  

Also living in Agnes Street was Ruth Johns, later Edgar, whom Iris befriended, and it is thanks to that continued friendship and Ruth’s employment at the Box Hill Reporter, that mention of Iris’s activities continued to appear long after she had left the district, including an article about her life, which appeared in the Society’s proceedings in the mid-1970s. Edgar described Iris as ‘having a magical quality, a charm, a genius for instilling everyday things with glamour’.¹¹

Iris subsequently became ‘solo dancer and ballet mistress for J.C. Williamson’s Wildflower and Katja companies’ and in 1930 joined the Kit Kat Costume Comedy Company, in charge of the ballet dancers for a tour of regional Victoria.¹² The tour was not a financial success, and the company appears to have disbanded. Later that year Iris established the Iris Roderick Dancing School in Box Hill, hiring space in the Lyric Theatre, where she produced the first of a number of annual demonstrations/performances by herself and her pupils.

She also became involved with a local operatic group that subsequently became the Box Hill Operatic Society, producing and appearing, with her pupils, in their productions. By 1934 she was running her classes every day, from 2 to 8 pm; on Saturdays from 8.30 am to 5 pm; and on Mondays, Wednesdays and Fridays to 10pm. The classes were divided into senior girls’ ballet (later tap as well), senior boys tap, children’s ballet, children—beginners and advanced. She also trained debutantes.¹³

In May of that year, she arranged the first of what was billed as ‘select’ dances at the Lyric Theatre, with a hired orchestra, modern and old-time ballroom dancing, and a performance by two of her pupils, one of whom was Marjorie Benn, the daughter of her landlord.¹⁴

In the following August, Iris staged a centenary review at the Lyric Theatre (it being the centenary of European settlement in Victoria). Some 300 costumes were used in the production, which included two orchestras, and songs as well as dance.¹⁵

The award-winning Centenary of Victoria celebratory float, 1934

Teachers of ballroom dancing, for adults, and acrobatics for children, were hired and added to her classes, and later that year came the creation and production of Box Hill’s float in the State’s centenary year procession. The float, designed by the city engineer, with the assistance of the city’s head gardener and numerous volunteers, was 30ft long and 10ft wide and, in the centre, had a huge rising sun made of timber covered in gold-coloured satin. There was also a wide stairway of purple and gold violas. Twelve of Iris’s pupils, gowned in various shades of yellow and orange, were on the stairway, while the outside of the float was covered in over 5,000 golden paper flowers, with the seal of the City in living blooms. The spectacular production won the award for best decorated float, and the City received a silver cup, valued at 50 guineas.¹⁶

1935 saw the opening of the new Box Hill Town Hall in Whitehorse Road, and Iris was involved in the celebratory performances. In the same year she took the lead role in the operatic company’s production of Sally,but resigned as the company’s producer in the following year, on the grounds of ill-health. She continued as its ballet mistress.¹⁷

As well as dancing and singing, Iris was a brilliant impersonator, particularly of English stars Gracie Fields and and Cicely Courtneidge. As this talent became more well-known, she started to appear on radio, initially on 3XY.¹⁸ This led to requests for her to appear at various concerts and performances, thus restricting the time available to run her dancing classes. During this time she kept up her charitable appearances, work for which she was awarded Life Governorships of various hospitals.

Iris in 1937

Iris as Principal Boy

In 1937 the classes were moved to the Regent Theatre, and Iris announced that she would be leaving for Sydney at the end of the year, with a view to later going to England or America to further her career.¹⁹ In November, the Prahran Council arranged a farewell concert and ‘thank-you’ in the Prahran Town Hall, with over 800 people present. So many bouquets of flowers were presented that she had to arrange a special car to take them home. Another farewell took place in the Box Hill Town Hall in December.²⁰

In Sydney she quickly became popular, appearing on national and local radio and in various concerts, with people such as Gladys Moncrieff.²¹ As usual, she kept in touch with Ruth Edgar at the Box Hill Reporter, writing to her in December 1938 that she was:

To open a season at the Capital Theatre Sydney, doing my film star impressions … and also to play the lead in Sinbad the Sailor …

She was also taking up ice and roller-skating, tennis, golf, swimming, learning to drive a car and play the ukulele, skills she hoped would assist in her career options in England.²²

Early in 1939 she moved to Brisbane, appearing on radio 4BH and in concerts there, and announced that she and her accompanist Marjorie Plunkett would be sailing on the Orontes for London on the 15 July.²³

Iris Roderick with the Auxiliary Territorial Service (ATS)

Iris Roderick with an unidentified performer entertaining the troops

A brief farewell visit to Box Hill occurred, where they took part in a concert, and then the two sailed for London. World War II broke out two days after their arrival. Marjorie joined the London County Council women’s auxiliary ambulance brigade; Iris initially served in the Metropolitan Police Canteen.²⁴ Soon after, she joined the Auxiliary Territorial Service (ATS), the women’s branch of the British Army.²⁵ Initially serving as a telephonist and plotter, she soon began organising entertainments for the troops. By 1942 she had been promoted to Corporal, and was one of nine chosen for special training for promotion to Sergeant. She also made several appearances on the BBC and at Australia House.²⁶

In Australia, her father Tom signed up for military service in 1940, putting his age back, giving his Geelong-based sister, Caroline Mockridge, as his next of kin, and his address as the Great Southern Hotel, Spencer Street, Melbourne, thus indicating that he remained living apart from his wife. Posted to the camouflage section, he had a heart attack at the Royal Park base and died in the Heidelberg Military Hospital in September 1942.²⁷

Iris Roderick with Marjorie Plunkett

From The Wireless Weekly, 15 March 1939

Iris in the 1940s

By the end of the war Iris had been promoted to Captain and been transferred to an Army Entertainment Unit, where she organised many shows for the men and women in the services. She returned briefly to Melbourne in September 1946, on leave, before returning to England, and later signing on for another three-years’ service.²⁸ This included a period in Egypt and Palestine. She retired from the service in 1949 and began producing and acting in musicals in Britain, as well as being compere of a BBC TV show. But, unable to make a living in postwar Britain, she returned to Australia in 1952. Here she appeared in a number of concerts and later worked as an After Care Officer with Dr Barnado’s Homes for Children, and produced the first religious drama for television on Channel 7. She became a deaconess at Sydney Methodist Mission in 1956, before retiring in 1958 on a war service pension.²⁹

In her final years Iris organized church concerts. She died in April 1971 from a brain tumour and was awarded a full military funeral by a Sydney RSL branch.

The Roderick collection, held by the Historical Society in two large boxes, includes a photo album, newspaper clippings, some theatrical programs, an autograph book with an illustration by her father, correspondence with a number of prominent people, her war medals, and a kit bag containing buttons from her military uniforms.

Endnotes

1. https://www.wikitree.com/wiki/Prentice-3293#Biography 

2. Sands & MacDougall Directories; Edgar, Ruth Iris Roderick, Vol. 4, Papers read before the Box Hill City Historical Society

3. NAA, B2455, Service No. 2043

4. The Argus, 5 March 1917, p.12 for advertisement; https://adb.anu.edu.au/biography/brenan-jennie-frances-5343

5. Punch, 28 February 1918, p.31

6. Punch, 19 October 1918, p.41

7. Box Hill Reporter, 22 April 1921, p.3

8. PROV, VPRS 10246/P0000 Unit 37 15/632 Deeds of Insolvency

9. The Herald, 6 July 1922, p.18

10. PROV, VPRS 267/P0002 Unit 151 1928/368 Civil Case Files; The Argus, 6 August 1928, p.2

11. Edgar, Ruth Iris Roderick Papers read before the Box Hill City Historical Society, Vol. 4, p.54

12. Benalla Standard, 21 February 1931, p.4

13. Box Hill Reporter, 14 April 1933, p. 2; 25 May 1934, p.2

14. Box Hill Reporter, 11 May 1934, p.2

15. Box Hill Reporter, 24 August 1934, p.3; 7 September 1934, p.1

16. Box Hill Reporter, 26 October 1934, p.2; 2 November 1934, p.1

17. Box Hill Reporter, 24 April 1936, p.4

18. Box Hill Reporter, 7 August 1936, p.5

19. Box Hill Reporter, 25 March 1937, p.4 ; 2 April 1937, p.2; 10 December 1937, p.3

20. Box Hill Reporter, 26 November 1937, p.3

21. Box Hill Reporter, 11 February 1938, p.2; Labor Daily (Sydney), 12 April 1938, p.9

22. Box Hill Reporter, 2 December 1938, p.3

23. Box Hill Reporter, 24 March 1939, p.3; The Telegraph, 5 May 1939, p.11

24. Sydney Morning Herald, 25 September 1939, p.13; Box Hill Reporter, 10 November 1939, p.1

25. https://en.wikipedia.org/wiki/Auxiliary_Territorial_Service; The Sun News-Pictorial, 10 September 1941, p.18

26. Box Hill Reporter10 April 1942, p.4; The Herald, 28 December 1942, p.2

27. National Archives Australia, Series B884; The Argus, 1 October 1942, p.2

28. Box Hill Reporter, 2 August 1946, p.3; 27 September 1946, p.3

29. The Argus, 18 April 1952, p.6; Letter from Muriel Thomson, 25 May 1973, held in Roderick collection

Note on images

All images from the Box Hill Historical Society unless otherwise indicated

Live performance of various styles has been enjoyed by Box Hill residents across three centuries. Located 14 kilometres (8.7 miles) east of Melbourne’s Central Business District, the area commenced development in the 1850s. In 1861 a post-office was opened, and ‘Box Hill’, one of several suggested names offered by various residents, is reported as being named after Box Hill in Surrey, England.

According to Andrew Lemon, most social life at the time evolved around the churches. It is therefore not surprising that one of the earliest concerts and dramatic entertainment on record in Box Hill was in August 1866, presented in the Church of England schoolroom in aid of the Benevolent Asylum. In 1867, the Catholic school room was the venue for popular readings ‘by professional ladies and gentlemen from Melbourne and Richmond, assisted by local talent’.

A turning point for Box Hill’s growth and cultural activities arrived in 1882 when the railway line extended from Camberwell to Lilydale. The new station at Box Hill facilitated accessibility to the area for visitors and stimulated the growth of new communities.

Lemon also points out that in the mid-1880s, Box Hill became a favoured location for landscape artists of the Heidelberg School, including Arthur Streeton, Tom Roberts, and Frederick McCubbin. While not theatre-related, this indicates Box Hill’s development as a cultural centre during the late 19th century.

Amateur theatre was already flourishing across Victoria in regional and metropolitan areas, and Box Hill residents could present their own theatrical performances in local performance spaces. Performance venues in Box Hill included a forty-feet-long hall built in Elgar Road in 1885 with a stage and dance floor, named after the hero of the day, General Gordon. Also in 1885, a consortium of businessmen built a Recreation Hall at 934–938 Whitehorse Road. It opened in November with a Grand Concertof vocal, instrumental and comic items.

Mechanics’ Institutes in towns and suburbs across Australia were also venues for live performances. However, first attempts failed by the Box Hill Temperance lobby to establish an independent Mechanics’ Institute and free library in 1884 and 1890. Two years later, efforts were more successful, but instead of operating from an independent building, the Box Hill Mechanics’ Institute was relegated to using four rooms inside the Temperance Hall, built in 1889. The Mechanics’ Institute operated for three years, ceasing to exist in 1895. Located in Whitehorse Road near the site of the Box Hill Town Hall, the Temperance Hall was patriotically renamed ‘Federal Hall’ in 1900.

Federal Hall (formerly the Temperance Hall), to the right of the Box Hill Town Hall. Courtesy of The Box Hill Historical Society.

The Box Hill Dramatic Club formed in 1888 and presented a three-act play titled The Flying Scudby Dion Boucicault at the end of the first year. Shire Secretary John Kefford courageously played the role of Lord Woodlie but was shown no mercy by the Standardnewspaper reviewer, who described his performance as ‘entirely devoid of expression and lacked that amount of energy generally due to a lover’.

In 1891, French actress Sarah Bernhardt was captivating audiences in Melbourne’s Princess Theatre with her performances. One free afternoon between shows, Bernhardt and her party took a trip to the country and stopped at Box Hill’s Railway Hotel.

French actress Sarah Bernhardt, 1891

Australian Performing Arts Collection, Arts Centre Melbourne

Regarded at the time as ‘the most famous actress in the world’, Bernhardt reportedly made herself perfectly at home walking around the hotel, opened the piano lid, and to everyone’s astonishment played a couple of French airs. Bernhardt then departed with the rest of her friends in ‘a handsome drag’. An exciting event indeed—international theatre had arrived in Box Hill!

The Box Hill Temperance Band (United Methodist Brass Band), 1890.
Courtesy of The Box Hill Historical Society.

The Box Hill Temperance Band formed during the 1880s, providing musical entertainment for the community. The band also performed on 24 May 1889 for Queen Victoria’s birthday celebrations.

In August 1923, Box Hill electrician and amateur radio enthusiast Herbert S. Beattie broadcast a performance by the local Brass Band, using equipment in his home. The event received extensive newspaper coverage, as it was an Australian first for a Brass Band to broadcast a full concert.

The Box Hill Brass Band in 1923, broadcasting the first concert ‘over the air’ in Australia

Box Hill Historical Society

In 1927, the group became the Box Hill City Band, which later ceased operation when male musicians enlisted for World War II. Restarted in 1949 by Thomas Davison, today the Box Hill City Band is one of the oldest community brass bands in Victoria.

The Box Hill Salvation Army Corps formed in 1891, entertaining with their marching band and brass bands. The aim was to attract crowds, spread the Gospel and raise funds to further their work.

Grand Concerts continued to be popular towards the end of the 19th century, such as the event presented on 1 August 1899 in the Recreation Hall.

Program for a Grand Concert, 1 August 1899, in aid of the Young Men’s Club of Box Hill. Published by E.F. Hodges, Printer, Box Hill, Victoria.
Theatre programme collection, State Library Victoria. Record ID: 9929722593607636.

Choral performances also offered enjoyable live entertainment, and the Box Hill Temperance Choir commenced in the late 19th century, changing their name to the Box Hill Choral Society in the early 1900s. Post-war in 1946, the group restarted as the Box Hill Choral Society, and in 1984 became the Box Hill Chorale, a Chapter of the Royal Victorian Choir. Today, the Box Hill Chorale is regarded as one of Victoria’s most active choirs.

Andrew Lemon observes that around 1911, although many varied clubs and societies were being set up in Box Hill, moral questions provoked the most debate. The Temperance movement and Social Reform Bureau were attacking the triple evils of ‘drink, gambling and impurity’ and both attracted strong support in Box Hill. As Lemon points out, although this era was a time of peace and progress, it was also ‘a turbulent age trying to come to terms with a rapidly changing world’.

As an extension of the Choral Society, a meeting of interested persons was called on 11 July 1919 in Gibson’s Hall to form an Operatic Club in Box Hill. The conductor would be esteemed Australian composer, conductor and music teacher, Arthur Maybee Chanter. The aim of the group was to produce suitable operatic and choral works of the great masters. The Operatic Club doesn’t appear to have eventuated then, but in 1929 when the Ava Choral Society presented a concert in aid of charity, they continued presenting concerts and then musicals with various name changes until 1933. Names included the Ava Choral Party and Ava Musical Club. Venues included the Rialto Theatre (formerly the Recreation Hall) and Lyric Theatre. The producer and musical director was Mrs A.V. Austin who performed with her husband Alfred Vallance Austin in the concerts. Mrs Austin retired in 1933, and the group became the Box Hill Operatic Society, but would close during the war.

Professional actor, singer, dancer, producer, teacher and war hero Iris Roderick nee Mockridge was instrumental in Box Hill’s performance scene, particularly during the 1930s (see Iris Roderick: A Child Prodigy by Helen Harris). Iris Roderick designed an award-winning float for her dance students to represent Box Hill in the Centenary of Victoria celebrations in 1934.

The award-winning Centenary of Victoria celebratory float, 1934. Courtesy of The Box Hill Historical Society.

The Box Hill Operatic Society was revived in 1946 by Murray Rawlings, pre-war secretary of the group. Their first production was High Jinks in November 1946, then Maid of the Mountains in October 1947 and The Lilac Domino presented in association with the Citizens’ Committee for Community Activities in October,1948 at the Box Hill Town Hall.

A scene from The Lilac Domino presented by the Box Hill Operatic Society at the Box Hill Town Hall on 21 and 22 October 1948 (left) and cover of program (right).
Courtesy of The Box Hill Historical Society.

The Box Hill Operatic Society continued to present shows until closing in 1958. The closure was mostly attributed to the unavailability of actors due to the attraction of television. Box Hill Picture Theatres also felt the effect of TV on audiences, limiting screenings to the end of the week.

The importance of music and arts in the community, particularly immediately post-war, was admirably recognised by the Box Hill City Council. In 1945, a council sub-committee was established, and a Citizens’ Committee was inaugurated. When the Box Hill Library opened in October 1950, the first Librarian, C. Phillip Billot, also had the title of ‘Coordinator of Community Activities’, and introduced a cultural scheme. First, he encouraged residents to regard the library as a community centre, and play-readings, recitals of gramophone records and a record-lending section were some of the early features.

Mr Billot was also asked to draw up a list of borrowers asking for books on certain topics, and he would call a meeting of those on the list with a view to forming a club. The Council would provide a meeting-room free of charge and assist with an annual financial grant. Once each club was established, the Council gradually withdrew, and this impressive initiative resulted in the formation of many organisations in Box Hill, including clubs for film, drama, art, stamps and ballet.

The new Box Hill City Drama Group commenced in April 1951, performing in the Town Hall for the first seven years. Scenery was initially stored in members’ garages, but the Box Hill City Council offered generous assistance, including providing a permanent place to make and store scenery.

In a nearby area, a long-running theatre group formed in 1953 called the Mitcham Repertory Group, founded by Ossie Maxwell Joffre Grant with Daphne Powell and Phil Mudge. When Max retired from the Mitcham Repertory Group in 1993, he had directed 53 of the 130 plays performed by the company over that 40-year period.

Until television arrived in 1956, musical comedies, ballets and other shows usually attracted good houses at the Box Hill Town Hall. However, the venue’s poor acoustics and increasing costs saw the drama company move to the newly completed St Peters Hall. This venue became the company’s home until moving to the Lutheran Hall in 1970. The City of Box Hill Drama Group presented quality productions, winning prizes in various Festivals.

A spectacular event was presented in Box Hill on the 6 March 1954 when Philip Billot, the Box Hill City Librarian and Co-ordinator of Community Activities, wrote a pageant titled The Cavalcade of the Southern Cross.Depicting Australia’s history in 18 episodes, the pageant took place on the Box Hill City Oval, with a cast of about 500 locals. The event honoured the visit of Her Majesty Queen Elizabeth II and His Royal Highness the Duke of Edinburgh’s visit to Victoria in March 1954.

Program cover for The Cavalcade of the Southern Cross, 6 March 1954 (signed by Chipps Rafferty MBE)

Courtesy of The Box Hill Historical Society

The pageant was directed by William P. Carr, Drama Director of the National Theatre, who requested that a three feet high stage with an area of 50 x 50ft. be erected in the centre of the oval, with ramps on three sides. Costumes could be borrowed from the National Theatre. The cast would be choreographed by Margaret Earl and comprise local community groups, with Australian actor Chips Rafferty MBE announced as the lead performer. Radio personality Terry Dear would be the commentator, and a Cobb and Co coach was hired from the Ballarat Council.

Box Hill community groups participating in The Cavalcade of the Southern Cross included the Ballet Group, Choral Society, City Band, Drama Group, Discussion Group, Operatic Society; the Baptist Pioneers, CWA, Box Hill Branch RSL, Brownies, the Grammar School, High School, Methodist Young Men’s Club, Box Hill South Square Dance Club, folk dancers and Greek and Swedish groups. Members of Box Hill City Council participated as did the Royal Caledonian Society of Melbourne Pipe Band and of course, the lead performer Chips Rafferty with the Box Hill Operatic Society and school groups.

The 8.00 pm starting time of the pageant was delayed for 20 minutes to allow the hundreds of people crowding the entrance to settle in their places. Over 7,000 people paid 2/- each for the badge and another 2/- for the souvenir program, with proceeds going to the Box Hill Hospital. Entertaining the crowd while waiting for showtime was highland dancing to the music of a pipe band, and folk dancing by a Greek group, with Councillor Lundgren providing the music on his piano accordion. 

Detail from the program for The Cavalcade of the Southern Cross, 6 March 1954. Courtesy of The Box Hill Historical Society.

To showcase another British contribution to Australian life, little girls from the Box Hill Brownie packs were dressed as rabbits in brown sacking with pointed ears and pompom tails. At an appropriate time, the Brownie ‘rabbits’ ran all over the sports ground.

Another highlight in the programme was Chips Rafferty reciting ‘The Man from Snowy River’ and singing with the Box Hill Operatic Society.

The Drama Group contributed two items: Holdup of the Carcoar Mail by Ben Hall and Ned Kellyand The Last of the Bushrangers.

Lola Jackson, ‘The Spirit of Freedom’ in The Cavalcade of the Southern Cross, 6 March 1954. Courtesy of Lola Brown nee Jackson.

Lola Jackson was the winner of a competition to select a local young woman to play the part of ‘The Spirit of Freedom’ in the pageant. After interval came a loud fanfare of trumpets, followed by drums and bagpipes. As the music faded, commentator Terry Dear’s voice spoke of Federation, then Lola spectacularly appeared on her horse in the Federation Tableau, accompanied by mass singing of ‘Song of Australia’.

Lola Brown nee Jackson recalls that the horse's owner was nervous that the horse would be spooked if the spotlights came on as planned, so they could only use reduced lighting for the grand scene.

For the final episode titled ‘The Crown’, the full cast assembled, with Lola and her horse in the centre, with mass singing of ‘The Recessional’ and a huge glittering crown suspended in space above the tableau. As the singing ended, lights dimmed and five stars representing the Southern Cross twinkled as the band and choir broke into the National Anthem. A spectacular and memorable event in Box Hill’s history. 

Program cover for The Red Sombrero staged by Cid Ellwood Operatic Productions at the Box Hill Town Hall in 1956

Internet Archive

Performer, composer, director and playwright Cid Ellwood formed his own operatic company in 1949, which performed in various suburbs, including the Box Hill Town Hall. Cid juggled work in his family’s Essendon business to operate Cid Ellwood Operatic Productions, specialising in light opera and musicals, some written by Cid himself.

Principals in the cast of The Red Sombrero presented at the Box Hill Town Hall in 1956 included Nance Grant (Rosita), Shirley Weston (Maria). Cid Ellwood (Pedro), Elaine McKenna (Lola), Fred Potter (Poncho), Robert Clarke (Manvel), Ray Stevens (El Torro), Ian Young (Rodney), Joan Hamley (Gloria), David Keane (Colonel Lysle), Phyllis Russell (Cora Coot), Vincent Smith (Diego Deli) and Leonie Scarlett (Principal Dancer), joined by an Ensemble

The Box Hill City Drama Group was requested by Council to produce an Australian play for the Centenary of Box Hill in 1957, preferably with a centenary theme. Ashes of Roses by Australian authors Arthur Ashwood and Philip Kelly was presented.

Helen Harris OAM observes that the Council went even further than the local drama group, negotiating with the Tin Pan Alley Players from Melbourne University to present a performance of Aristophane’s comedy The Birds, on 18 June 1957, with dancers from the Ballet Guild. A review in the Eastern Times was less than flattering, commenting on the difficulty for players dressed as birds to speak through their beaks, adding: ‘An Aboriginal corroboree in the original native tongue might have been more suitable’. The reviewer observed that the play had not been performed in Australia since 1890, which ‘seems a dubious recommendation for a star feature of the centenary celebrations’. In conclusion, the reviewer noted that as Aristophanes had been dead for more than 2,000 years, ‘it might have saved a lot of disconcerted Box Hill minds this year if his play had been buried with him’.

The Box Hill Drama Group underwent a name change in 1967 to the Box Hill City Repertory Theatre Company, which operated until 1993.

Another musical group, the Whitehorse Orchestra, was founded in 1969 by Tony Szachas Cook, progressing from a small training orchestra for secondary technical school students to a well-established community orchestra of more than 70 players.

During the 1970s and ‘80s, the orchestra was a chamber group which rehearsed at Box Hill TAFE College Music Department. Its development was assisted by Marion Souter, Andrew Mathers and Kevin Purcell. Music Director Gerald Keuneman OAM has made a significant contribution to the orchestra since 1990. In 2015, the Whitehorse Orchestra travelled to China and presented several concerts. Currently rehearsing at the Box Hill Community Arts Centre, the orchestra has played at many events in the City of Whitehorse and presents three major concerts each year.

Strong youth representation in Box Hill’s theatre history includes shows presented by members of the Scout and Guiding Movements. The 16th Box Hill Scout Group presented The Red and Green Group Show on 29 February,1964 at the Box Hill Town Hall.

Program for The Red and Green Group Show, 29 February 1964

Courtesy of Whitehorse Showtime

In 1965, Rod Savage OAM organised the very first Whitehorse Showtime for the Box Hill District Boy Scouts, based loosely on the Melbourne Gang Show and performed at the Box Hill Town Hall. As times changed, involvement became open to Guides and girls who were members of Scout groups to join the all-male cast.

The original 1965 cast of Whitehorse Showtime. Courtesy of Whitehorse Showtime.

With over 60 consecutive seasons of shows created, produced and performed by Scouts and Guides, Whitehorse Showtime continues to provide quality performing arts training to Scouting and Guiding youth, and entertaining theatre experiences for audiences.

The Box Hill Musical Comedy Society was founded in 1969, and in 1971 the Whitehorse Musical Theatre Company formed as a breakaway group. Their first show, Brigadoon, was presented in the J.H. Charles Memorial Hall at Box Hill High School. Whitehorse Musical Theatre became one of Victoria’s leading non-professional musical theatre groups until the company’s closure in 2011. Fran Boyd, who with her husband Darrell were both Life Members of Whitehorse Musical Theatre Company, explains the reason for the company's closure. ‘This wonderful company gave so much to so many in the Box Hill area before it sadly had to close due to lack of funds and younger people to take over the committee and run the company.’ However, Fran says that several ladies from the company still meet once a month for lunch, ‘as we have wonderful memories of this great theatre company and the many friends we made. So many of our young performers moved on to work in professional theatre and are in shows at present time. It is wonderful to see them and know WMT helped them to make lasting careers here and overseas.’

Applause, Applause, presented by Whitehorse Musical Theatre at the Phoenix Theatre, Burwood in 1983. Photo courtesy of Vicki Arief, Whitehorse Musical Theatre.

NOVA Music Theatre originated in 1972 when the Box Hill Light Opera Company was updated and renamed and continues to present two major musicals per year. The Box Hill Light Opera Company’s last productions were The White Horse Inn and Carousel, presented in the Box Hill High School Hall. The name was changed to NOVA Music Theatre to allow flexibility for the company to present a wider range of musical productions, as well as operatic.

Program cover for the Box Hill Light Opera Co. production of Carousel, 1972

Courtesy of Bill Simpson

Program cover for the NOVA Theatre production of The Boyfriend, 1974

Courtesy of Bill Simpson

NOVA Music Theatre’s first show in 1972 was Camelot, staged in the Alexander Theatre, Clayton. Venues since then have included Kew High School, Nunawading High School, and after presenting Brigadoonin 1986 at the Whitehorse Centre at 379–399 Whitehorse Road, Nunawading, this would remain the company’s performance venue for many years. Construction to rebuild the Whitehorse Centre commenced in 2021 and finished in 2023. In October 2023, NOVA moved into the new state-of-the-art theatre now named ‘The Round’ with seating for 600 plus, to present the Rodgers & Hammerstein musical Cinderella.

Joy Mudge founded the Oxford Children’s Theatre in 1978 when unable to find a good drama class for her granddaughter. The venue was the former Methodist Church on the corner of Oxford and Station Streets, and Joy Mudge lived in the historic Blood Cottage next to the Church.

The Oxford Children’s Theatre Cnr. Oxford and Station Streets, Box Hill. Courtesy of The Box Hill Historical Society.

At least 1200 children attended the Oxford Theatre each week, and performances were presented during the week for schools and for the public at weekends. Selected by audition, the graduates had to train for 18 months before being considered a graduate of the theatre.

Training involved a professional singing teacher, dance teacher, meditation and at the time, what was new to Australia – Feldenkrais movement, which teaches the body balance and control.

The Oxford Children’s theatre won an award for the Best Children’s Theatre in Melbourne.

Students at The Oxford Children’s Theatre, 515 Station St., Box Hill (Cnr. Oxford St.).
Courtesy of The Box Hill Historical Society.

Shows presented by the professional theatrical arts sector in Box Hill include a moving performance at the Whitehorse Centre in 2018 by the now late Aboriginal actor, elder and activist Uncle Jack Charles, a trailblazer for Australian theatre who spent some years of his life living in Box Hill. While there is currently not a dedicated, large-scale theatre in the area, performances from the professional sector can be found at nearby venues, such as The Round.

All live performances, whether professional or non-professional, built on the talents, passion and dedication of actors, singers, dancers, musicians, technicians, production, administrative and backstage teams, have made a magnificent contribution to the cultural fabric of Box Hill since those early days of settlement.

References

Andrew Lemon, Box Hill, Box Hill City Council in conjunction with Lothian Publishing Co Pty Ltd., 1978, pp. 30, 32, 33, 71, 82, 83, 88, 89, 100, 101, 103, 125, 172, 196, 197, 198

Box Hill Historical Society archives

Box Hill Operatic Society. (1934, 23 February). Box Hill Reporter (Vic.: 1925–1950), p. 4. From http://nla.gov.au/nla.news-article282265118 (accessed 2 September 2025)

Advertising, Box Hill Reporter (Vic.: 1925–1950), 4 October 1929: 4. Web. http://nla.gov.au/nla.news-article257224518 (accessed 1 September 2025)

Advertising, Box Hill Reporter (Vic.: 1925–1950), 26 February 1932: 4. Web. 1 Sept 2025 http://nla.gov.au/nla.news-article282166919 (accessed 1 September 2025)

‘Operatic Club for Box Hill’. (1919, 18 July). The Reporter (Box Hill, Vic.: 1889–1925), p.5. http://nla.gov.au/nla.news-article257152200  (accessed 31 August 2025)

Box Hill Salvos 2025, ‘About Us’, https://www.salvationarmy.org.au/boxhill/about-us/ (accessed 29 August 2025).

Housewives’ Association of Victoria (1933, June 16). ‘Ava Musical Club’. Box Hill Reporter (Vic.: 1925–1950), p. 2. http://nla.gov.au/nla.news-article282168422 (accessed 2 September 2025)

Internet Archive, The Red Sombrero1956, Cid Ellwood Operatic Productions https://archive.org/details/metres (accessed 28 August 2025)

NOVA Music Theatre, ‘About’, https://www.novamusictheatre.com.au/about.html (accessed 28 August 2025)

Cheryl Threadgold, In the Name of Theatre: the History, Culture and Voices of Amateur Theatre in Victoria, Cheryl Threadgold, Melbourne, 2020, pp. 47, 214

Whitehorse Historical Society, Newsletter, ‘The Acting Bug’, Series 30, No.6, October-December 2022, p.4. https://whitehorsehistory.org.au/wp-content/uploads/2022/11/December-2022-web-FINAL.pdf (accessed 28 August 2025)

Wikipedia,‘Arthur Chanter’, https://en.wikipedia.org/wiki/Arthur_Chanter (accessed 31 August 2025)

Special thanks to Helen D Harris OAM and the Box Hill Historical Society

Thanks also to

Australian Performing Arts Collection, Arts Centre Melbourne

Lola Brown

Trish Carr

Leanne Fraser

Claudia Funder

Bill Simpson

Caitlin Stevens

State Library Victoria

Whitehorse Showtime