Welcome

 Welcome to Threw the Hat,  a blog about Australian Juggling History.

Here you will find links to photos and articles/stories about Australian Jugglers and those who visited Australia..

You can search the site or browse the tags on the right hand side if you are looking for a particular juggler.

Please credit the site if you are using any information you find here

Enjoy your visit and feel free to contact me if you have any questions or comments

Please note; I post sporadically due to time constraints. I work as a teacher and I tend to post more when on holidays.

Thanks to everybody who has visited or given feedback.

Leann

Cinquevalli on the right. (author's collection) 

Freda Cuthbert- juggler, lion tamer and salome dancer.

 Freda Cuthbert was one of the most versatile performers to entertain in Australia, and at one time was ‘Australia’s only lady juggler.’

Freda’s birth date was, according to her mother, around 1889-1890. Freda once told a newspaper that she arrived in Australia with her parents with Bostock and Wombwell’s Circus, and her daughter, Cleo, later repeated this. An oral tradition in the circus community suggests that she was born in South Africa.  During her early career the papers claimed that Freda was from Albert Park, and it seems that Melbourne was her early home.There is also a high probability that Freda was a nickname and that she may have been Dulcie Winifred. Regardless, records of her early life are sparse and inconsistent.

Freda’s  first sensational entrance into entertainment  was as Australia’s only lady lion tamer in 1905 in Melbourne.

That year in Princes Court, Freda entered a lion’s cage and danced in front of the lions. On occasion she also twirled Indian clubs in front of them. There is no record of her juggling the clubs at this stage, but she was certainly able to manipulate clubs as she danced. 

The lions apparently were not too impressed by the performance and just lay there watching her shenanigans. Later that year Freda worked for Bostock and Wombwells circus doing the same performance during which she was accompanied by Mons Marco, the lion tamer of the circus. Bostock and Wombwells also featured the famous juggling act of Campbell and Jarvis. George Campbell remained in Australia and was a mentor to several Australian jugglers.

In a July 1906 interview 16 year old Freda was described as ‘a really pretty girl with an olive complexioned face, full regular features, a fine head of jet-black hair and well developed limbs’

Her proud mother, who accompanied her to the interview, stated that the circus had wanted to bill Freda as ‘Signora Leonora’, but she had insisted that ‘I want Australians to know she is an Australian and to know her by her own name.’

In early 1907 Freda worked at Dreamland at St Kilda beach, but unfortunately, in August that year, Mons Marco, the lion tamer who had trained her, was seriously attacked and mauled by his lions. This did not deter Freda, who teamed up with another lion tamer, Carl Wilheim to continue her career in 1908.

Perhaps it was the attack on Marco that caused Freda to take her career into another direction. In February 1909, she performed the Salome Dance at the Melbourne waxworks. 

The dance was introduced by Maud Allan in London the previous year. Allan had scandalised London society  by performing  topless. The dance illustrated the famous biblical story of Salome who danced for the head of John the Baptist. In both Maud’s and Freda’s version of the dance, a waxwork head was a major prop in the act.

Freda took the dance to Sydney in March, surrounded by mirrors, the effect was dazzling and memorable.

Standing in the back of the stage in a costume of beaded shield vest and gauze skirt draperies, which allow the limbs free play, Miss Cuthbert commenced with a slow rhythmic sensuous motion and the dance increased gradually in speed till a pause is reached… Seizing the trophy (the head), the girl whirls it around until she collapses on the floor.’ 

Freda received rapturous applause from the Queens Hall audience at this display,  however, some members of the Sydney press were appalled.

A writer for Sydney’s Daily Telegraph stated that the dance retained some of the ‘objectionable features’ of Maud Allan’s dance in London, suggested that it was ‘moderately interesting’, and questioned the suitability of having a severed head on stage. The reviewer was also offended by Freda’s gauze skirt. However, this view was a minority, and Freda’s career as the Salome dancer with a faint air of scandal, lasted for several years.

Between 1910 and 1914 Freda danced her way through Tasmania and regional Victoria with a variety of travelling troupes, including Elton’s entertainers, Pagden’s minstrels and Percy Foster’s. She varied the Salome dance with a Cleopatra dance and the ‘Dance of Death’ in 1911. She performed with the Kelsos and other jugglers during these tours and may have learnt juggling from them.

During the First World War, Freda was based in Melbourne and performed regularly at the People’s Concerts. During this period,she refrained from scandalous dances and primarily sang and participated in skits. In 1917 she began juggling professionally.

In May she was described as ‘ a charming lady who juggles while dancing in an original and decidedly clever fashion’

Billed as a dancing juggler, Freda combined dance with juggling and juggled a ‘pot pourri’ of items in her act. In Melbourne the ‘turn went big’ and her ‘dainty manner’ imparted an ‘original touch’ to the act. 

From this time Freda alternated between a dancing juggling act and dancing. She continued to perform the Salome dance, and added other dances as specialties. 

In 1918 Freda travelled to Broken Hill where she danced in the Britannia Theatre for a few months. When the war finished later that year, Freda joined a group called the ‘Dinkum Diggers’ one of many troupes who capitalised on performers who were returned soldiers. 

By the 1920s Freda was a well known dancer, and  a minor local celebrity. In 1921 she travelled to Sydney  and performed  at the Princess Theatre on the Clays circuit.

That year a man called Joseph Zahn Rinaldo performed at the Tivoli Theatre in both Melbourne and Sydney with a trained dog act. Rinaldo had gained fame many years before whilst ballooning in Melbourne. The balloon failed in windy conditions and Rinaldo smashed through the window of a lady’s house. It was one of many ill fated ballooning incidents in his life. In 1914 he performed in New Zealand as a magician and dare devil. Rinaldo was born in Bohemia, and during the war was declared an enemy alien as Bohemia was part of the Austrian Empire. He was interned in New Zealand and returned to Australia in the 1920s. His trained dog act was a hit for a short time in 1921, until he was accused of cruelty towards one of the dogs. A  court case found him guilty and the Tivoli banned him from further performances. It was around this juncture of his life that he seems to have met Freda and the pair formed a partnership that lasted over 20 years.

Freda and Rinaldo formed the Freda Cuthbert company which revolved around a dog act entitled A Day in Dogtown. The act was patented by Rinaldo. It consisted of several dogs performing human activities including one which staggered around the stage drunk, one which undressed and went to bed, and one which prayed by a gravesite. The dogs also performed circus tricks such as jumps, and standing on their hind legs. Freda danced and juggled whilst Rinaldo performed conjuring tricks and told comic stories. The pair travelled around Australia with this combination. 

In the early 20s many women in Australia were defying convention and playing bigger roles in public life. Freda was part of this trend. She was the public face of the company formed with Renaldo. Freda gave most interviews, she corresponded with the trade papers during disputes with managers, and the company operated under her name. Rinaldo’s reputation may have contributed towards Freda’s prominence, but her acumen ensured that the pair and their family earned a solid reputation and had strong business for over a decade. 

At one point the company featured a juggler called ‘Dulcie Wynne’ which seemed to be a stage name for Freda, as Dulcie performed the same ‘dancing juggler act’ as Freda. Rinaldo also performed under several names including Flaneur. In the early 20s the pair toured with a lion cub called Cleo which caused a stir in the regional towns they visited.

In the 1920s, Freda was performing ‘deft manipulations with balls, clubs, cushions and many other articles’ she was assisted by a pomeranian which added greatly to the humour of the act. 

After many years of travel, Freda gave birth to a daughter, Cleo in 1925. Cleo later married Stafford Bullen of the famous Bullen circus family.

Freda and Rinaldo continued to tour Australia through to the 1930s, in 1934 Freda gave an interview to a Perth newspaper where she stated that she and her parents had arrived in Australia with Bostock and Wombwell's circus. She mentioned her early years as an ‘animal trainer’ and asserted that there was no point in being cruel to her performing dogs, as treats worked better than punishment to ensure their obedience. It seems that Rinaldo’s ban by the Tivoli was still haunting the act. The couple continued their travelling ways until the outbreak of World War Two. 

In the 1940s Freda and Rinaldo settled in Queensland. During the Second World War, Rinaldo worked as a tattoo artist. 

Rinaldo died in 1964. Freda’s daughter, Cleo, played a major role in the success of Bullen’s circus and was a prominent member of the international circus community until her death in 2007.

Archie Onri.

Archie Onri was a well known and respected American juggler who toured Australia briefly in 1917.

Archie aka Archibald O Brien, Archie O Brien or Archie Hanley was the son of Rosa Lee . Rosa was an equestrienne juggler who toured Australia with her family in Chiranis circus in 1880. After Australia the circus travelled to India. 

Archie Onri’s death certificate gives a date of birth of 1874, but it seems more likely that he was born in 1882. Rosa was in India in the early 1880s after the Australian tour, and Archibald O Brien, Archie’s father, performed in Australia in 1881. A baptismal certificate says that Archie was born in September 1882 in  Calcutta.  

Rosa, in the late 1880s, formed a theatrical double act called the ‘Sisters Onri’  with Adele Purvis Onri .The two women juggled objects between themselves whilst balancing on large spherical balls. It was a popular music hall turn.

Although billed as sisters, the pair were not blood related. Adele, born Carolina Adele Brown, was the daughter of a legendary British circus man, Henry Brown who died in 1902. Rosa was the daughter of another legendary British circus man Henry C Lee who died in Australia in 1885. Both women were born around 1862, and as relationships in circus were often adoptive, irregular or convenient, it is possible they grew up together. Regardless, their partnership as the Onri Sisters, juggling on globes, lasted at least 3 years.

 After the Sisters Onri broke up, Adele pursued  a solo career as a juggler and dancer on a globe and for a short time was tremendously popular.  Rosa also continued to perform, sometimes with other members of her family.

Young Archie probably spent much of his childhood either in the circus or the theatre. As he grew older he became part of the act. His circus background ensured that he had versatile skills, he could juggle, tumble, balance and  paint. Soon he was part of the Onri Troupe, a juggling group who passed various objects whilst balancing on globes.  In 1904 he appeared in the trades as a juggler of devil sticks. 

By 1906, the Onri Troupe, consisting of Rosa, her husband John or Jack Hanley, her brother, Robert Lee, 16 year old Leland, five year old Bessie, Archie and Archie’s partner, Dolly, was a regular attraction on the US vaudeville scene. They maintained a solid but not spectacular career touring the circuit. 

The family suffered the usual vicissitudes of vaudeville at the time, including unscrupulous employers. In 1907 Archie wrote a letter to Variety condemning the practices of a Cuban theatre manager who overcharged the family for their return fare, refused to pay them in the promised gold and cut their contract short. Archie accused the manager of ‘ ‘Contracting artists for from twelve to sixteen weeks he, discovering late that too many acts are on his hands will find fault…to unheard of extremes and try to cut the artist’s salary or close him on the instant’ Archie wrote the letter on behalf of his family and their fellow performers, the Kishi troupe, and it was published in December. The letter indicated that the young man was a confident and eloquent defender of his family business.  

Archie had already met his wife Gertrude (Dolly) Jenkins who accompanied him to Cuba.  Gertrude was an English dancer and instrumentalist, and the pair met while performing in pantomime, probably in England. In 1910 they had their first child, a daughter. The birth was announced in Variety Magazine. 

Shortly after returning from Cuba, Archie and Dolly developed their own act which involved scene painting, tumbling, banjo playing, juggling and devil sticking. They were regularly employed and reasonably popular. This was the act they brought to Australia five years later.

In 1917, Archie and Dolly travelled to Australia under engagement to the Tivoli Circuit. At the time Archie was 34 years old, standing 5 foot 6 inches with brown eyes and dark brown hair. The couple left San Francisco in April with plans for a six month tour. 

The Onris were following the path of many American entertainers who came to Australia during World War 1, but their journey was perilous. The United States entered the war in April 1917, just as the couple departed, and the threat of German u boats was a real danger. 

However, they arrived safely and Archie Onri billed as  ‘The Wonder Boy’, debuted at the Sydney Tivoli in May 1917. He opened the act with lightning oil painting, then proceeded to juggle and tumble on stage. The highlight of the act was a comedy turn with devil sticks.

A Sydney reviewer raved.

Archie Onri juggles with various things, plates, paints, pieces of furniture, billiard cues and sundry other articles. I doubt there is anything he could not do a turn with. When he started out to juggle the paints, I thought it was going to be a beautiful sunset… but it turned out to be a Devonshire landscape. Then he did some turns with three humorous pieces of wood  …The wonder boy is attended by Miss Dolly..(who) wears petticoats and lace.

One reviewer, however, had some criticism. They admitted that the audience liked the turn, but claimed it was ‘too diffuse’. Archie, they said, should stick to juggling and omit the painting.

After some weeks in Sydney, Archie and Dolly travelled to Melbourne in June.

Melbourne reviewers called the act ‘a very clever and attractive exhibition of novel juggling’. Charles Waller who saw Archie in Melbourne said, ‘this young American gave a potpourri of magic, sketching and juggling. He was good.’

It seems that Archie spoke more to the press in Melbourne, than he did in Sydney. He claimed that he had taught painting and drawing for two years in New York, before the lure of vaudeville became too strong. This claim was somewhat dubious. However, he was undoubtedly a talented visual artist and several of his drawings appeared in trade magazines during his career. Including the one below in 1920.

Archie also revealed that his grandfather died in Sydney, and that his father  was ‘a noted rider.’ He added that his mother had just retired after 48 years in vaudeville.  Archie also asserted that he was the originator of the ‘comedy devil sticks'. 

In Melbourne Archie and Dolly attended a party for a famous jockey. In early August they attended another party with the racing community. At the latter they were thanked for their support of the industry and Archie gave a speech on behalf of himself and other American performers.

In early August the couple returned for a brief time to the Tivoli in Sydney. Later that month they were advertised to appear in Brisbane but social and political upheaval disrupted their schedule.

 On August 2 1917, a large number of railway and tramway workers walked off their jobs, this soon spread to a general strike across the east coast of Australia. The stressors of war, increasing inflation and political division due to conscription debates led to a widespread walkout by working people across several industries.

This impacted  the theatres too. Joe Willard who was also on the Tivoli bill described the conditions in a letter to American Variety in 1917. Transport was at a standstill, food was scarce and some theatres had closed. The Tivoli was open, but acts were being paid half their salary. 

Archie and Gertrude were engaged to perform in Brisbane. They were advertised as appearing there. However, there was little coverage of their performance. It seems that due to the strike and cut in pay, either they, or Tivoli management decided to cut the tour short.  By September they were in Hawaii, on their way back to the US, where they began performing almost immediately. Their six month contract was not fulfilled.

Archie and Dolly continued to perform and remained active members of the International juggling and vaudeville communities. Various members of the ‘Onri’ family performed with them or as solo acts and the name ‘Onri’ became common in vaudeville circles.  In 1921 Archie proposed an International Juggling Association. The proposal was supported by many jugglers including Rosa Onri, and Adele Purvis Onri.  (more about that in David Cain's excellent article)

Archie Onri was a significant member and leader of the International juggling community for most of his life. He passed away in New York in 1944. 

Harry Tsuda in Australia 1916-17

  

 

Harry Tsuda was an exceptional equilibrist and balancer who toured Australia in 1916-1917, as one of many American performers who came during the early years of the war.  Harry seemed assured and confident in all he did. This was necessary due to the incredible balancing feats he performed. He gave candid and probably not quite candid interviews to the press and certainly lived up to the reputation of his famous mother, the notorious Adele Purvis Onri.

Harry claimed 1885 as his date of birth on his passport and the place as San Francisco. The same passport had a hand written note which said ‘My father died when I was three and I am unsure if he was a citizen’. Sometimes Harry said he was born in Japan, but usually he gave the US as his native land.

Harry said in interviews that his father was a rich man from Tokyo who sent him to university in the US. After trying  to complete degrees in dentistry and engineering, the pull of athletics was too strong, and he decided on a vaudeville career. This could have been true, but it is hard to reconcile with the fact that he performed in London in 1902, as little Tsuda.

Whilst in Australia, Harry also talked about his mother, Adele Purvis Onri. She was the daughter of well-known English circus proprietor Henry Brown, and performed around the world doing a serpentine dance and juggling on a spherical ball. Harry recalled that he gained his ability to smile while performing difficult feats due to Adele’s coaching. She would stand on the side of the stage harassing him as he balanced, with heckles such as ‘ Look at that face, surely he’s been to a funeral’ ‘ I suppose he just can’t smile’.  As a result Harry spent hours in front of a mirror practising smiling whilst balancing on a sphere. A modern interpretation might be that Adele was a bullying stage mother, but it was probably an acceptable practice considering vaudeville and circus culture at the time. 

Harry performed with Adele in London in 1902-03 and also in the United States in 1906-07. Soon he began a solo professional career as Tsuda, the Japanese balancer. His act evoked applause, gasps and shock. He thrilled every audience that saw him.

 In Australia, a Melbourne newspaper gave an in depth description of his act;

Tsuda places a large white sphere on top of a table, climbs on the sphere, drags up a chair, climbs on it, takes up another chair surmounts it, and then begins to do all sorts of difficult acrobatic feats… bringing his work to a climax by balancing himself head down from the top of a swaying pile while he picks up a handkerchief with his teeth.

According to newspaper accounts ‘ He was ‘as much at home head downwards as most people are in a normal attitude’. His daring feats had audiences holding their breath and cheering wildly when he safely returned to stand on the stage.

Harry arrived in Australia, at the invitation of Ben Fuller, in July 1916. He opened in Sydney then proceeded to Melbourne where he was ‘loudly applauded.’ By September he was in Perth and described as ‘a past master at making you hold your breath’ . Harry’s act was  different for Australian audiences and this ensured his popularity. He gave several interviews and in one he addressed some of the issues of contemporary society.

 It was sixteen years after Federation and the White Australia Policy was a plank of the new constitution .Australia was at war, and there was a rising fear of an ‘Asian invasion’.

Harry was very intelligent and addressed these fears and whilst doing so subtly played the racism of his white audiences.

‘ I think it can be claimed with all sincerity that the Japanese are thoroughly in sympathy with British institutions and ideals… I can assure you the thinking Japanese are not anxious to transplant Japan into either California or Australia but seek only to broaden their own views in order to continue  the enlightenment of their countrymen.’

This is a rare instance of an Asian performer speaking on the issue of race at the time.  

Harry’s tour coincided with the tour of juggler Archie Onri, who was engaged on the Tivoli circuit.  Archie may have been a relative of Adele, but neither man acknowledged this, although they performed at least once  in the same city at the same time.

In December 1916 Harry went to New Zealand and remained there until February 1917. In March he reprised his act in Sydney and performed in regional areas of the state. In April he was described as a ‘very small Japanese’ who performed ‘one of the most novel and exciting turns presented in vaudeville.’

In May he returned to Melbourne and in June was in Queensland where ‘his principal act of balancing two ordinary chairs on a sphere at hair raising angles and then balancing on the backs of each by his hands with feet in the air simply brought down the house.’

After almost a year in Australasia, Harry returned to the United States. He told Australian reporters that a dramatic role was waiting for him, but he soon resumed the balancing act.

Harry maintained a solid vaudeville career in the United States and continued in balancing until 1926. In October that year he was performing for a small independent circuit in Pennsylvania when he fell. He died in hospital a day later from a broken neck. 

Harry was a well liked and extremely skilled performer who was very popular in Australia. His photograph is a reminder of this extraordinary artist’s visit during the trying years of World War one. 

 

 

The Great Cestria.

 

Cestria or Carlo Cavalli, the Italian acrobatic waiter, was one of many jugglers who came to Australia during World War 1. He was in the country for over 10 years and in that time worked for all the major vaudeville chains and circuses.

The diminutive Carlo was born in Torino Italy in 1883. By 1906 he was working in English music halls as a juggler and acrobat. When he arrived in Australia in 1916, under engagement to Fuller’s vaudeville, he was 33 years old, of medium build standing 5ft 1in tall with black hair and brown eyes.

Carlo, who often travelled under the name ‘Cestria’ was an acrobat and juggler. He was accompanied by his wife Anna, who also performed in the act. Cestria was the star, who began the turn on stilts, performing somersaults. He then juggled with various household items such as potatoes and had the audience throwing potatoes to him from the auditorium. It was an entertaining, humorous and participative turn.

In September 1916, he appeared in Queensland ‘ on stilts throwing all sorts of somersaults with a double on a table.’ In October he travelled to New Zealand and then returned to Australia in February 1917. This was the standard touring route for Fuller’s international performers at the time. 

In Melbourne that year he was described as ‘ a diminutive comedy man of exceptional ability’.

By November 1917 he had joined the Tivoli circuit and remained with it until at least October 1918 when he performed at the Tivoli Sydney.

His turn at this time consisted of a 20 minute act, featuring himself and his wife, Anna, as a maid. The turn opened on a drawing room scene with four tables with white table cloths. Upon the tables were plates and fruits and props such as cigar boxes, a top hat, a bucket, a saw and an axe. Anna entered the stage dressed as a maid and dusted the tables, Cestria followed on stilts, dressed as a waiter, and started tumbling. Then he pretended to saw off the wooden stilts with the saw, after which he resumed tumbling and juggling with the fruit on the table. At this, Anna exited the stage. Cestria then proceeded to juggle three china eggs whilst wearing the top hat, which had a hole in it. The eggs passed through the hole to the juggler to produce a comedic effect. He then juggled twelve cigar boxes, dropping and picking them up for more comedy. Anna then returned on stage whilst the juggler placed a fork in his mouth. Anna threw potatoes at him whilst he proceeded to catch them with the fork. Anna and Cestria then threw potatoes at the audience encouraging them to throw the potatoes on stage so that Cestria could catch them. After some time of being pelted with potatoes the juggler put on the bucket and waved a white flag, giving up. 

After catching the potatoes, Anna walked off stage and then started to throw various vegetables and fruit at the juggler, with each one getting larger. Cestria, as the waiter, caught them on the fork in his mouth. Finally , a dummy, looking like the waitress, was thrown at him on stage, and he would catch this too on the fork, finishing the act on a comic high note.

After three years of solid employment in Australia, Cestria and Anna took the act to Western Australia. They were preparing to leave for the Northern Hemisphere. Most of Australia had seen their turn and they were not getting much work in the major vaudeville chains. Unfortunately, shipping accommodation at the end of the war was limited due to the need to return troops from Europe to Australia, so Carlo and Anna found themselves stuck in Western Australia. They spent almost two years in WA performing in various vaudeville theatres and in Eroni’s Circus. During this time they received warm reviews from the press which described the act as ‘uproariously funny’ and ‘remarkable for its cleverness.’

By 1921 it seems that the duo had decided to remain in Australia. That year they performed in South Australia, Sydney and Queensland. In March in South Australia the reviewers described Cestria as ‘a wonderful tumbler, juggler and balancer… at his best as a comedian.’

In Sydney, in June, they performed at Fullers as Charles and Anna Cestria, ‘tumbling over and under tables and chairs’ the newspapers described their tricks as ‘some of the best of their kind’. 

However, it seems that there were some people in Australia who were imitating the act and in July 1921 Carlo Cavallo copyrighted an act called ‘Cestria the acrobatic waiter’ with the Australian government. He claimed that he had performed it since 1906 in England and asserted dramatic rights to the original work. 

However, this did not discourage the imitators. In October 1922 whilst working for Colleano’s Circus in Victoria, Carlo wrote to the government complaining about an imitator called De Car who was performing as the ‘acrobatic waiter’ for Fullers at the Bijou in Melbourne.

Carlo claimed; ‘I advised him personally five or six times to cut it out and he will not take any notice ‘. Carlo added that he had also advised both Musgrove, (who ran the Tivoli) and Fuller, (who managed Fullers) about the issue. Neither man acted on the advice. 

Carlo was understandably furious. ‘ I had to join the circus’ he wrote, as he could not gain employment on the vaudeville circuit ‘ because they have this man instead of me and he is working cheaper.’

The Australian government also did not act on his complaints. 

Whatever problems Carlo had with Fullers seem to have been resolved by 1924 because he worked with them during that year juggling ‘cigar boxes and soup plates.’ His act was described as ‘twenty minutes of uproariously funny comedy with clever juggling and dare devil acrobatic stunts.’ In July that year, a dog, Prince, was added to the act.

However by 1925 the Great Cestria was not as popular and from this time until he left Australia, his main performances were in minor regional vaudeville chains, circuses  and yearly pantomimes.  His act was always warmly greeted wherever he went and his ‘true vaudeville touch’ and ‘wide experience of stagecraft ‘ were recognised.

In 1928, Carlo Cavallo, aka The Great Cestria, left Australia for England. He arrived in September 1928 in Liverpool and does not seem to have appeared in Australia again.