Maggie Moore- the woman who bested JC Williamson

First published in Stage Whispers Magazine- this is quite a long article

In 1894 theatre impresario J C Williamson was a very unhappy man. His estranged wife, the popular Maggie Moore, was touring Australia with the melodrama Struck Oil. Williamson considered the play his property and resented his former wife profiting from it. In addition, she had cast her lover in the role Williamson had made famous. It was enough to make any man furious.

Struck Oil had catapulted J C Williamson into the highest echelons of fame. Before Struck Oil, Williamson was one of many actors struggling to make a living in the United States.  After Struck Oil, he was a successful businessman and entrepreneur, respected around the world.

It had all started in 1872. 27 year old James Cassius Williamson, a leading player at the California Theatre in San Francisco had seen a performance by Maggie Sullivan, a star at the nearby Metropolitan. Maggie was a vibrant Irish – American 20 year old who had started her career as a child.  She was a talented and versatile actress and singer and James soon proposed marriage. After initial reluctance, reinforced by her mother’s disapproval, Maggie agreed and Mr and Mrs Williamson became a partnership, on stage and off.

JC was ambitious and soon persuaded a part time playwright to sell him a script. After much tinkering and tailoring of the main characters to suit the personalities of both the Williamsons, the script became Struck Oil.

It was a melodrama and featured two major roles, John Stofel, the kind and sacrificing father, played by JC and Lizzie, his vivacious and tempestuous daughter, performed by Maggie. The play was a hit in the US and the Williamsons were invited by George Coppin to take it to Australia

They arrived in 1874 and caused a sensation. Struck Oil was enthusiastically acclaimed during a slow period in theatrical production. It became a legend in Australian theatre history. After a tour that was extended from 3 months to 6, the Williamsons returned to the United States thousands of dollars richer.

Obviously Australia liked JC Williamson and Maggie. They also enjoyed Australia. 5 years later they returned with the rights to HMS Pinafore. It was the launch pad for the development of a theatrical empire. Williamson vigorously defended his rights to the Gilbert and Sullivan piece and was rewarded with the Australasian rights to the rest of the G and S catalogue. This was the foundation of the JC Williamson Company.

By the 1890s, Williamson was the most famous theatrical manager in Australia. He leased venues across the country, ran the most prestigious theatrical companies on the continent and produced the most popular pieces in the biggest cities. In 1891 he triumphantly brought Sarah Bernhardt to Australia. He was one of the most well known figures in the colony, a man of wealth and high social standing.

So it must have been a shock that just as the divine Sarah was leaving after her earth shaking tour, another woman was also leaving, his wife, Maggie.

A small woman of uneven temperament, Maggie enjoyed a lavish lifestyle. She was good at spending money and JC had provided for her generously. He gave her an allowance of 10 pounds a week and her weekly income grew to 50 pounds a week when she was working.  This was an enormous amount of money at the time.

In 1891, JC started complaining about some promissory notes that Maggie and her brother Jim had signed. The notes were worth 1000s of pounds. It was the first indication that the marriage was in trouble.  Later that year it became clear that the pair had separated, although there was no public acknowledgement of the break.

What led to the situation was never fully explained. Perhaps Maggie’s character, which had caused some problems in the early years of the marriage, had finally become unmanageable. Perhaps JC exploited his power over the chorus girls too often. It was clear however, that the marriage was permanently over by late 1891. Especially after Maggie ran off with a younger man, New Zealander, Harry, (H R) Roberts.

Roberts was, of course, an actor. He was a tall man with a very impressive voice. He was also young and handsome and 15 years Maggie’s junior. In the early 1890s Harry worked in Sydney and in the city’s close knit theatrical community it was inevitable that he would meet the wife of the biggest name in the industry.  Somehow the meeting turned into a love affair, an affair that was probably well known in the theatre world, but never revealed to the press.

In the late Victorian era, social status was very important, and Williamson was very conscious of his standing as a leading figure in Australian society. It was this desire for respectability that made him reluctant to publicise Maggie’s behaviour. His profits and business relied on a good reputation; he could not risk it by charging Maggie with adultery.

In 1892 Maggie toured country areas of Australia with her own company. The next year she took Struck Oil to New Zealand. In this version. John Forde played John Stofel and Maggie played Lizzie. However, by the end of 1893, Maggie’s company openly billed H R Roberts as its leading man, and in 1894, Maggie twisted the knife and gave Harry the leading role of John Stofel, in Struck Oil.

Williamson was incensed. He wrote to his lawyers demanding that they stop Maggie from presenting the play in Melbourne. He was sentimentally attached to the piece and seemed to consider the role of John Stofel as his acting legacy. He condemned Maggie’s conduct as legally and morally inappropriate but was reluctant to expose her desertion publically.

Williamson later decided against pursuing the matter legally. But it was too late, his lawyers were committed.  When the matter came to court, the magistrate expressed surprise that Williamson could not control his wife. Under Australian law at the time, all marital property belonged to the husband, so it was impossible for Williamson to win a case against Maggie based on property rights.

The play went ahead and Maggie ensured that advertising included the fact that she had won the case.

Maggie and Harry played to packed houses and continued to perform Struck Oil for many years. The couple travelled to the US and the UK and had moderate success.

In 1899 during a tour of New Zealand, Maggie finally sued Williamson for divorce. Her suit was based on the fact that he was living with a former member of the ballet chorus, Mary Weir.

Williamson, ever mindful of public opinion, did not contest the action and Maggie was awarded a decree. Maggie and Harry returned to the US and married in 1902. Williamson and Mary also married and had two daughters.

Maggie outlived both Williamson and Harry. She continued appearing on stage well into her 70s. In 1925, a huge benefit performance was held to celebrate her 50 years on the Australian stage. Shortly afterwards she returned to San Francisco where she lived with her sister. In 1926, Maggie died in San Francisco.

Maggie, the small fiery Irish woman was perhaps the only person in history to exploit J C Williamson. In an era where women had little power, she astutely used her husband’s desire for social respectability against him. Whilst Williamson is acknowledged as a leading figure in Australian theatrical history, few people acknowledge Maggie’s role. Her outstanding stage partnership with him helped lay the foundation for the Australian theatrical industry. She deserves a place in that history as illustrious as that of her former husband

More notes on scenic design by Jack Ricketts.

All question marks are mine- some of the handwriting is worn and illegible.

Fifty years of scenic painting in Australia.

Now that Australia is about to celebrate the hundred and fifty years of its existence I think that the last half century of one of its minor industries the art of scene painting may be of interest to the many readers of the Sydney Morning Herald. Theatrical scene painting has two uses first as a background to plays operas and theatre presentations and secondly as an art education to the masses who nightly gather together in the various theatres. The art of scene painting in Australia is as high and has a standard equal to any part of the world. The reason for this is that the early nineties had a combination of actor managers who in their endeavours  to equal each other in merit had to import their scene artists. Fortunately they selected England and from there brought a brilliant coterie of painters Harry Lynid? W J Wilson, George C Gordon, then in succession came W B Spong, Hedley Churchward, Fred Kneebone, John Brunton Phil W Goatcher, George Dixon and W B Coleman. All these great painters are dead with the exception of Mr George Dixon who is now painting at the Theatre Royal Sydney.

 Fifty years ago when I joined the theatre on the scenic staff and before the imported painters mentioned above had arrived, Australia had competent resident scenic men. In Melbourne, Mr John Henning, Mr John Fille, Mr Habbe, Her Von Vennenmark? Fred Edmunds W Massey, Geo Kelly, W Pitt. In Sydney W J Wilson, William Kinchella, G W Perriman, Alfred Louis Tischbauer who painted under the name of ALTA, Mr Richard Seligill? Mr Alfred Clint, Mr Geo Campbell, Mr Feda? Williams and Mr Edward Vaughan,  It was wonderful in the gas lit crudely filled theatres as those drops, what wonderful artistic illusions these painters could create. The history of the theatre in Australia for the last fifty years is really the life story of the various actor managers, the deaths of JC  Williamson, Arthur Garner, Brough and Boccicault , Charles Holloway, Dan barry Graham... Wybert Reeve, D ogden? B N Jones, 

Some notes on Scenic Design by Jack Ricketts

Jack Ricketts trained as a scenic designer and artist in Sydney. He knew many of Australia's scenic designers. Below are some notes his made on the history of his profession.

Before I write of the last fifty years let the late W Wiseman tells us something of its earlier history he says;

Notes on early Scenic Design in Australia

W J Wilson scenic artist landed in Melbourne March 6^th 1855. His grandfather J Wilson , his father W G Wilson was scenic artist for Drury Lane Covent Garden and other London Theatres. In an interview with him he said in Melbourne at the time of arrival 1855, there was only one theatre, (the Queens) under management of George Coppin, Charles Young and J P Hydes. This theatre had an act drop painted by Mr William Pitt, The father of William Pitt the architect who in later years designed and built the Kings Theatre Melbourne and many theatres in New Zealand.

The Theatre Royal and Coppin's Olympic were in the course of construction. The Royal opened on the 16^th July 1858, the play being the School for Scandal The Olympic 31^st of July 1855, the plays being The Lady of Lyons and ( To oblige Benson, the other scene painters in Melbourne were William Pitt, John Hemmings Mr Opie, mr Tannant? Mr ar...? and Herr Habbe). I came to Sydney in 1861 and painted for Ralph Tolano then lessee of The Lyceum Theatre York Street, This theatre was afterwards known as the Queens, being rechristened by ...F Hardying? Habbe and WJ Wilson. In 1863 the old Prince of Wales Theatre (now the Theatre Royal) was rebuilt after the fire in October 1860. On Monday August the 20^th 1870, Habbe and W J Wilson opened the Victoria Theatre, Pitt Street with the Gregory? Troupe. That was before John Bennets leeseeship. the Victoria Theatre was burnt down in... and no theatre erected on its site. For this season, Habbe and Wilson painted a new act drop the centre piece depicted Circular Quay.

Daisy Jerome- The red headed spark

1. 

In 1913, fashions and attitudes were changing quickly. Early that year women suffragettes had marched in the US and later that year the scandalous argentine tango began to be danced in western society. The tango reached Australia in late 1913 and almost at the same time, a young music hall artist called Daisy Jerome arrived in Australia under contract to JC Williamson.

When Daisy Jerome landed in Adelaide in 1913 she was dripping with jewels and carried a scent of the scandalous. The American born, but English raised, comedienne was a small woman with a wiry frame topped with a carroty mop of red hair. She had a sparkling and wicked sense of humour and a vibrant manner. However, it was the fate of her dresses that worried Daisy when she arrived. She had forgotten a box in London and was afraid she would not be able to replace them when she reached Sydney.

Daisy Jerome was a product of music hall and J C Williamson had caught her act in London. He hired her for an Australian tour at the huge rate of 150 pounds a week, and Daisy had eagerly grabbed the opportunity .

In England Daisy was surrounded by a faint scent of impropriety. Her act was outrageous, she often made pointed political allusions in her songs, and some had suggestive lyrics which were often accompanied by a wicked wink which promised more than she delivered.

Daisy was a feisty product of a system which required toughness and charm. She had deserted her first husband, Mr Fowler, a year after their marriage and started to live with a Mr Allen. During the divorce proceedings, Mr Fowler had stated that Miss Jerome’s mother was a strain on their relationship and had threatened to kill Mr Allen if he didn’t marry Daisy after soiling her reputation. Mother Jerome accompanied Daisy to Australia, but Mr Allen was nowhere to be seen.

There was also the court case for libel that she had initiated against a journalist in 1910. The journalist wrote that Daisy had performed several encores, although the audience had not asked for them.  During the case, Daisy’s song,  ' a little pat of butter' a ditty with several dubious meanings and a verse about Chamberlain, was disparaged. She won the case and was awarded the grand sum of a farthing .

Daisy ‘s first appearance in Australia was in Sydney in December 1913. She was one of the stars of Australia’s first revue, ‘Come over here’. The show was panned by critics because of its length and many reviewers thought it would have been better with some judicious cuts. Sydney reviewers however, enjoyed Daisy's role. The contrast between her delicate ladylike frame and the raucous vulgarity of her comic songs shocked audiences and the reviewers firmly decided that Daisy was ‘an acquired taste.’ Daisy agreed with this assessment. She later  told journalists that audiences in Sydney were initially cold towards her. It may have been her bright red hair or the quick changes of costume or the famous wicked wink that shocked them. However, Daisy eventually won over the sceptics in Sydney and by the time the show arrived in Melbourne, she was warmly welcomed and christened with the nickname, ‘The electric spark.’

During the run of the show, fellow comedian, Jack Cannot played a joke on Daisy. Her red hair was a source of gossip and speculation. Daisy was at great pains to assure audiences and press that it was her natural colour, but few believed her. It was such a source of controversy that Cannot used it as the basis of a prank.

In Melbourne, Cannot informed Daisy, that there was a gentleman who had taken offence at her red hair. Daisy was indignant and insisted to Cannot that her hair was hardly her fault, but the Australian comedian insisted that the offended gentleman would visit Daisy that night.

Cannot then rang the local fire brigade and spoke to the superintendent. He told him that there was a grave risk of fire during Miss Daisy Jerome’s turn on stage that night. Superintendent Lee was worried and agreed to come to the theatre to assess the risk. Upon meeting Daisy Mr Lee immediately sensed the problem and said, ‘ I agree, there is a danger of fire . The scenery should be fireproofed at once.’

Red hair was a source of superstition and had long been associated with bad tempers and scandalous sexuality. This was particularly a problem for women in the early 20^th Century when combined with a theatrical profession and a music hall background. Daisy’s stage persona capitalised on the evil reputation of red heads, but she also sought to maintain some respectability by insisting her carrot top was natural rather than dyed. The presence of her mother by her side maintained her respectability too.

Initial reports of Daisy’s arrival had emphasised her jewellery and sophisticated style. However, after the declaration of war in July, reports began to focus on her simplicity of dress and direct manner. Daisy assured reporters that she was not interested in clothes at all, and that she wanted to appear as simply dressed as possible so that the audience could focus on her singing ability.

After her contract with Williamson lapsed, Daisy was offered another large contract by Fullers. This was for vaudeville performances and gave  Daisy the opportunity to showcase the naughty act that had caused furore in Europe.

In Brisbane in October 1914 she sang, ‘ When you go to the seaside’, and two of her signature tunes, ‘Row Row Row’ and the pro feminist ‘ The Press, the Pulpit and the Petticoat’. The last compared the powers of the media and the church to the power of women, with women being favoured of the three.

Daisy’s feisty singing, her independence and her slightly risqué act and comments about the role of women in society were typical of many women of her day. In an interview in Adelaide in 1914, she stated that the only influence on her decisions were her own wishes. She told the interviewer, ‘ I refuse to regulate my acts to accepted rules of conduct, that is why I suppose people say that I am mad.’

Independent minded Daisy was happy to pay for herself rather than rely on a man to pay for her. She thought the fact that she earned more than most men meant that she should pay her own way. Her statements to the press were unusual and shocking for the period, but her popularity with audiences did not fail and she had a successful tour of the major cities and New Zealand with Fullers.

Daisy also toured regional centres of Australia and visited mining towns in Queensland and New South Wales. In Brisbane she performed for visitors and of course she participated in various war related benefits such as auctions and benefit performances

Daisy remained in Australia until 1916 and left Ben Fuller with a court case. She sued a man for the return of a loan in 1917 after her departure. She lost the case, but had left Australia long before it was heard.

Daisy returned to Australia in 1922 and had another successful and dramatic tour of the country. There was a scandalous court case involving missing jewels and a new husband with an exotic French name. Daisy stayed shocking and individual but her style faded from popularity with the advent of the moving pictures and soon she disappeared into the shadows of history.

Website Update

I have finally got access to the website after a delay of several years. I have updated some links and added a new email address for HAT business. The new address is thehatarchive@gmail.com.

The pictures link at the top of the page will go directly to flickr, but all the photos are still on site, so a search will take you to a photo on site if it is not on flickr.

I am trying out google search too.

So if you have time to spare and want to do some theatrical research, have a look at
 www.hat-archive.com, which must be turning 10 years old next year...

Is this J C Williamson?

Is the man in the middle of this photo J C Williamson?

I'm just not sure. JCW was the most famous theatrical entrepreneur in Australian history. He was born in the US and came to Australian the first time in 1874. He made his fortune by acquiring the Australasian rights to Gilbert and Sullivan.

JC Williamson theatres were a household name in Australia until the 1960s.

The photo above has the right provenance to be of JCW and his company. I think the man in the white hat looks like him.  Try comparing it to this photo from the National Library of Australia website.

Henrietta Watson

The Referee was a Sydney newspaper that covered sport and had a small theatrical section. It also included lots of gossip and occasionally brief biographical notes, like the one below about Henrietta Watson. It is an invaluable source for Australian theatrical doings during the late 19th and early 20th Centuries

Miss  Henrietta Watson -Referee August 9 1899

Miss Henrietta Watson one of the most popular and finest of the many actresses who have visited us, is making her reappearance as Miladi in 'The Kings Musketeers" at Her Majesty's. it is close on six years since the talented lady completed her last engagement here, after having been with us for over two years.

In the course of a chat , Miss Watson gave an account of her doings during her absence.

"Immediately upon my arrival in London," she said, "I was engaged to play the chief part in the farcical comedy "Thoroughbred" at Terry's Theatre, after which I accepted a merry part in "Her Advocate", produced by Mr Charles Cartwright, at the Duke of York's. Next I did six months at the Lyceum Theatre as understudy to Mrs Patrick Campbell.

"At the beginning of 1896 I replaced Miss Milward at the Adelphi Theatre as Esther Coventry, the heroine of 'One of the East', with Wm Terriss, who you will remember met with such a sad fate as the hero. The followed a tour of 12 months in second parts with Miss Olga Nethersole in the United States, and on again returning to London I played long engagements in "This Happy Life' at the Duke of York's and "A Brace of Partridge" at the Strand. My final appearance before leaving for Australia was in "The Mayflower" a very fine play.

Miss Watson's engagement with "the Firm' is only for six months and will conclude in November. Local theatregoers would like to see it extended , but that, unfortunately, is hardly likely owing to engagements awaiting the lady in England.

Henrietta had a sister, Elizabeth, who was also an actor. She married Walter Thornton Radcliffe in 1900 in Sydney.

The Referee is available from the State Library of NSW on microfilm. It is worth a look if you are interested in theatrical history.