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.

The Genesian Theatre/Kursaal Theatre

The Genesian Theatre in Kent Street Sydney is a lovely slice of the past in the middle of modern Sydney.

The building was completed in 1868 and was originally a church and school.

You can see traces of its original function by looking at the exterior of the building.

Around 1932, as the Kursaal Theatre, it became the home of the Sydney Repertory Company led by Scott Alexander. As an independent theatre it showcased a wide range of plays and writers including Shakespeare, Ibsen and local Australian talent. Alexander also held acting and speech classes in the building.

Alexander died in November 1938 but by that time The Company had moved to North Sydney.

The theatre became a refuge for homeless people, until 1954 when it was returned to use as a theatre for the Genesian Theatre Company.

According to the Genesian's own history, the company was formed by a group of Catholic youth who adopted the name of  the patron saint of actors, Saint Genesius.

I was lucky enough to attend a performance at the Genesian last night, and it is a really delightful little place that retains a lot of old world charm.

The staff were kind enough to let a mad historian take some photos...

I have no idea how much it would cost to maintain the building, but it must be a lot. So if you are interested in Sydney theatre pop along and watch a performance. I saw Charley's Aunt last night, and it was high quality and very entertaining. Here is my review.

Matheson Lang in Sydney.

I found this yesterday.


1910 was a busy year for Australian Theatre. Oscar Asche and Lily Brayton played to packed houses, Houdini thrilled audiences  with daring feats and in May Matheson Lang toured.

The signs of mourning for Edward VII were being removed from Sydney's public buildings when and and his wife, Nellie Hutin Britton arrived. Australia had been talking about them since January. The couple had big reputations gained in London and New York and Sydneysiders were eager to see them.

Lang planned to perform in Sydney and Melbourne and the first of many plays on his agenda was 'Pete' an adaptation of Hall Craine's play, 'The Manxman.'.

The preparation for the play was meticulous. Before his departure from London, Lang had relayed a request to  Australia for a baby to appear in the second act. In response, a Sydney man had volunteered his unborn child for the part.The child was born before Lang's arrival and christened 'Pete'.

Lang played the eponymous role of Pete the Manx fisherman. He had prepared for it like a modern method actor, visiting with Manx fishermen on the Isle of Wright, so he could immerse himself in the accent and culture.



Pete opened at Sydney's intimate Criterion Theatre on May 21st 1910. It was melodramatic fare, one critic wrote that  ' it's character are almost without exception steeped in pain and misery throughout its telling.'

They had every reason for their angst. The play revolved around adultery, sibling jealousy, questioned paternity, power and greed. It was material that thrilled the public but would, in most circumstances, affronted the moral guardians of Sydney society.

However, this case was different, despite the salubrious plot, the conservative elements of Sydney society were silent and this was due to Matheson Lang. He had the good fortune to be related to the Archbishop of York, a fact emphasised in most interviews. This high ranking relative protected him from the usual condemnation of the nation's prudes.
Matheson had the extra advantage of being six foot tall and handsome, qualities that also prevented criticism of his performance.

Due to these facts and the skill of the actors, 'Pete' was a huge success in Sydney. It played to standing room only audiences through its run.

Sydney critics agreed with audiences and through Lang's performance was outstanding. They praised his realistic portrayal of a fisherman and applauded his restrained display of emotion.

Miss Britton was also praised for her performance in a relentlessly dour role. Her physical beauty was also noted, especially her fine figure and 'interesting' face.

Lang and Nellie performed in Sydney for 9 weeks and were feted and applauded the entire stay.  They represented the best of international theatre to audiences who were developing a keen appreciation of quality drama and spectacle.
Lang and Nellie were one of many international artists who travelled to Australia. The long trip was well paid and the audiences less critical than those in the northern hemisphere. Competition for quality international theatre was fierce in the country and theatre managers were rewarded with crowded houses and financial success when that quality was delivered. In return, audiences  and local talent obtained a taste of European theatrical tradition that otherwise would have been denied to them.

Child Labour in the Australian Theatre 1890-1911

I wrote this some time ago and found a copy today.

Between 1890 and the early 20th Century, the employment of children on the stage was controversial. Regulations regarding employment gradually became stricter as the idea of childhood was developed and the importance of education increased.

Famous Child Performers



Many great Australian performers began their stage careers as children. Carrie Moore began as a 13 year old in pantomime, the Beatty sisters began with Pollard's Lilliputians and William Percy also started his long comedic career with that company. Child acts were also popular in vaudeville theatres, Fanny Powers was a huge hit with Tivoli patrons as a 7 year old.

Child stars played small but important roles in plays in pantomimes, however, the rights of the child as a worker were often ignored.

This changed as the 20th Century progressed and adult advocates began to question the use of children in theatrical entertainment.

Child Labour Laws.


However, by 1890, the law had tightened in many states. In Victoria, the law prohibited any child under the age of 10 working after 7 O Clock in winter and 9 O Clock in winter. This limited the use of children in theatrical entertainment. Two prominent entrepreneurs, J C Williamson and Alfred Dampier were fined for breaking this law.

Arguments about child labour.

The fines levied against the managers led to arguments abotu the practice of employing children in theatres. Proponents argued that theatre training improved diction, provided enjoyment and also provided more discipline that many children received at home.

Opponents, including the representatives of the Society for Prevention of Cruelty for Children argued that the theatre exposed children to undesirable elements of society and exploited their precociousness for the benefit of greedy managers.

The Pollard Scandal

The laws regarding child employment continued to develop after Federation and in line with community perceptions of childhood and education. In 1910 an event occurred which focussed the spotlight back onto the theatrical community.

A scandal erupted when a troupe of children, touring under the Pollard name, were stranded in India. The newspapers exploded with accusations of child abuse, the intervention of the Indian authorities in the matter was embarrassing  and the difficulty in returning the children to their parents  and the subsequent pitiful scenes of reunion, brought the matter of child employment in the theatres to the headlines.

More on the Lilliputian Scandal

Child Labour Legislation by 1911.

By 1911 the government of NSW had legislated to disallow any child under the age of 14 being employed on the stage. The premier of Victoria agreed in principle with this idea, stating that all children of that age should be in school.

Education was seen as more important as the century progressed and subsequent legislation gradually increased the school leaving age to reflect this.

The changing view of childhood and the increasing importance of education to a new society led to the development of harsher strictures for theatrical managers, but did not finish the exploitation of children on stage and screen. However it limited the opportunities for conniving managers and complemented the changing social attitude of the time.

Fanny Powers of the Tivoli

Fanny Powers was a popular child performer at the Tivoli Theatre in the late 19th and early 20th Centuries.

She was born in 1890 near Leichhardt in Sydney to Maria and George Powers. Her parents must have been involved in the theatre because she was performing by the time she was 7.


Here she is as a child.

Fanny was an accomplished mimic and dancer and was well known for imitating the great stars who visited Australia. She was also very popular with Harry Rickards and his family, which included two daughters. 

In 1903 Rickards took her to England where she replaced Vesta Tilley at the Oxford Music Hall. She was too young to be paid because of child labour laws, so was given a 'present' every pay day.

Fanny was a popular favourite in Australia until 1912 when she gave up the stage to get married. An enormous benefit was performed for her farewell, and she never returned to the boards.

Above is Fanny as a young adult.

She married Mr William Foote, a South Australian businessman in 1913. He owned several racehorses and was some years older than Fanny.

The pair settled for a time in Manly NSW. During the early 1920s they lived in a beautiful sea side house with their three children, George, Arthur and Nancy.

In the mid 20s they moved to Adelaide.

William died aged 63 in 1937, and Fanny died the next year, around June 1938. There was little fanfare when she died but she was fondly remembered for decades as one of the fixtures of the Tivoli Circuit.

Stars of Efftee films

A wonderful reader kindly sent me some cigarette cards of Australian born actors. The cards are beautiful and date from the 1930s. Thanks Sarah!


They represent stars from Efftee films. Efftee film studios were apparently created in Melbourne in the early 1930s by Frank Thring. The name comes from his initials, FT.

A list of their films is here

Firstly we have  George Wallace. George was a stage comedian and film actor. His bio on the back of the card states;
Australian comedian, born Brisbane (q) aged 33 years. Comes of a theatrical family. Has toured his own revue companies. First film, 'His Royal Highness." (Efftee Films)

Cicely Coutneidge. Born Sydney NSW; age 39. Daughter of Robert Courtneidge famous actor-producer. Married Jack Hulbert. First film 'Elstree Calling'. Talking pictures, "The Ghost Train" , "Jack's the Boy", and "Happy Ever After".

Cicely, of course spent most of her life in England, she was born during one of her father's tours of Australia in 1893. She was an accomplished stage actor.

Cecil Scott. Born Bathurst NSW, 25 years old. Has appeared in Australia in musical comedy and revue. Specially selected to play the title role in Efftee Films 'The Sentimental Bloke."

Pat Hanna. Born Mercury Bay (NZ) Height 6ft 1 in. age 42. Lieut NZ Forces during the Great War. Formed 'Famous Diggers' company and toured world. Appeared at Royal command performances. First talking picture, 'Diggers' (efftee) and "Diggers in Blighty."

Ray Fisher. Aged 19. Born Melbourne. Began stage career a dancer. Specially selected by Mr F W Thring to play Doreen in Efftee' "The Sentimental Bloke."

Betty Stockfeld. Born Sydney (NSW) age 25. Was educated at Carisbrooke College Canterbury (Vic). First film "City of Song."Recreations; swimming and flying. Plays piano and ukelele. Clever linguist and has appeared in French films. Hobbies; gardening, travelling and reading.

Many stage actors turned to film during the early years of the talkies. In Sydney, the Prince Edward Theatre had a stage show as part of the film experience. The early 1930s were the era of the huge film palaces such as the Prince Edward and the State Theatre in Sydney. Unfortunately it was also the depression era and economic circumstances combined with  competition from the talkies, destroyed live theatre. In 1933 the great Her Majesty's Theatre in Sydney, which was located on the Centrepoint corner, closed down. The Criterion also closed in this period.

These cards, however, show no sign of terrible economic times and are a beautiful reminder of the elegance of the era. Thanks again to Sarah for her kindness.

Update

I've been very slack about updating here, so for my New Years resolution, I will try and update more often.

I can't update the website at present because my desktop computer has been broken for about 6 months. But hat-archive.com is still limping along.

I have been updating the flickr site regularly. I added 11 photos this morning. Most of them are postcards including some lovely early cards of Tivoli performers. I have never seen these before so was quite surprised to find them.

Fanny Powers was a long term member of the Tivoli theatre company and a good friend of Harry Rickards.

I also picked up the postcard below.

This is Guiseppe Sacco Homann, the original world famous fasting man. I picked this up because it is so strange. Guiseppe has written on the back of the card thanking Mr H Brooks for his 'gustations'. I suppose even the world famous fasting man had to eat sometimes.

And of course I had to buy the postcard below.

I overpaid, but it is Charlie Chaplin and I love Charlie. It's from his Essanay film days, around 1914-15.

I have almost 800 postcards on the flickr site  so check it out at  http://www.flickr.com/photos/hat-archive/
Stage Whispers have updated the history part of their site to include an article I wrote about child labour in the theatres. Surprisingly, very little has been written about this topic. The article focuses on a scandal with a children's troupe which was deserted in India. It is available here.

For the January 2013 issue of Stage Whispers I wrote about Mrs J C Williamson, aka Maggie Moore. The only person in history to exploit the great theatre entrepreneur. Ahh that Maggie, she was an Irish scoundrel!

The new edition of Stage Whispers will be available in newsagents soon.

Happy holidays to everybody.

The HAT flickr project. Herbert Flemming

I am currently in the process of uploading all my postcards, photos and miscellaneous collections to Flickr. I have reached 600 photos and counting.

Take a look. Or search flickr for hat-archive.

Meanwhile, here's a mini biography of Herbert Flemming from The Referee newspaper in 1908.
I'm putting together a collection of these mini biographies and publishing them through Smashwords. It should be available in the next couple of weeks.


Herbert Flemming
Born c 1855 London.
Emigrated to New Zealand 1876
Died 1908 West Melbourne Victoria Australia
The well known actor-manager who died in Melbourne last week. He was one of the best known men on the Australian stage and as an actor held a very high position, his productions always showing artistic taste and careful selection of the cast. The deceased was about 50 years of age, and was educated at the London University College School. He first appeared on the stage in Christchurch (NZ) in 1876 and it is noteworthy that his companies always included some New Zealanders. A little later he appeared in Melbourne with Creswick, Bland Holt and others, and then filled a seven years engagement with Williamson, Garner and Musgrove. He then went to India and the East and returned to London. A visit to South Africa was made in 1896 and he remained there some years directing eventually a circuit of ten theatres. He came to Australia in 1902 and with a few months intermission remained here till his death. He joined forces with Robert Brough in 1903, but the latter died a year later, and the deceased conducted his own comedy company up till the time of his death. Mr Flemming appeared in Sydney last June and July when he was successful with some new productions. He leaves a widow and two sons.

Inside History

I've had the privilege of working with Inside History magazine, and they have kindly published an article I've written about researching theatrical ancestors in Australia.

The magazine is available in newsagencies around Australia and can also be ordered on line\

So check out this lovely full colour magazine which promotes Australian history and historians.

Google plus 1

I signed up for Google plus 1 today, so if anybody is interested , email or add me to your account.

I have not updated for some time due to work committments. I am working on adding some photos and information to the blog and website soon.

Thanks to all who are buying the ebooks- your support is appreciated.

-Leann

Circus: The Australian Story.

Mark St Leon, Australia's premier circus historian is releasing a new book through Melbourne Books which will be available in May.

Mark has studied Australian Circus for many years and this book will be the definitive history of Circus in Australia.

Anybody who has had the privilege of listening to Mark speak about circus will know that he has an encyclopedic knowledge of the subject, he is the expert in this field. I'm happy that the book will include the stories of May Wirth and Con Coleano, which will make it an unforgettable reading experience. If you are interested in circus, you will love it.

Anyway, it will cost 39.99 and will be in a soft cover large format.More information at Melbourne Books at www.melbournebooks.com.au

Little Cliff/Laddie Cliff

A couple of weeks ago I posted a postcard of Little Cliff. Amazingly, a relative emailed me with details of his life.

Here is the post card again.

And here is part of John Perry's email.

The postcard on your HAT posting of 27th February is, indeed, the English 'wonder' performer Little Cliff.

He was 14 years of age when he toured the Rickards theatres in Sydney, Melbourne and various parts of NZ in the second half of 1906. I imagine the source you found giving his age as 4 years old had dropped off the first '1'!

Little Cliff (proper name Clifford Perry) rebranded himself as Laddie Cliff the following year, when he started touring the United States. He went on to become a big star of vaudeville in US and UK in the 1920s and '30s.

He was my late father's first cousin. The family ostracised him for both going on the stage, and divorcing his first wife; both were shameful acts in those days! He died in 1937 without issue.

I also found the autograph below in my collection.


Many thanks to John for contacting me and for allowing me to reprint part of his email.

New Postcards

The NSW Postcard Collectors Society fair is a source of many unusual and interesting theatre postcards.

For example, this lovely image of Ethel Haydon, a Victorian born singer/actress who married George Robey the famous English comedian after she started a career with George Edwardes in London.

I'm not sure, but I think this is the 'Little Cliff' who thrilled Tivoli audiences in 1906. However, he does seem a bit older than the advertised 4 years old.

This is Andrew Mack, the Irish American comedian/singer, who toured Australia in 1905. He liked it so much he returned in 1907.

But the most interesting find at the postcard fair today was this.

It's a handmade card dated 1917. The picture in the middle is a newspaper cutting.

The inscription says, "A Tribute in memory of your debut from The Knuts. 1917." The back of the card looks like this.





The handwriting says," From your stage assistant." The print identifies the card as being a souvenir from the , " National Committee of YMCAs on active service with the Australian Imperial Forces."


So is it a wartime joke? or a souvenir of a performance? It certainly is interesting.


The postcard fair always provides surprises!

Scenic Design- 1901

Scenic designers in the late 19th and early 20th centuries painted large frames by hand to produce amazing artistic backdrops.

Jack Ricketts, (Scenic Designer) saved the picture below which shows him and a fellow designer painting the act drop of the Criterion Theatre in 1901 for a Josephine Stanton production.

Jack wrote;

This sketch shows the painting frame of the late Criterion Theatre and depicts the writer and William Diamond of New Zealand at work on the scenery for the opening of the Josephine Stanton Company. This drawing, which was presented to the writer by the artist will give readers of this article an idea of the work room of the professional scenic painter.

Unlike England where scenic designers worked in their own work rooms, in Australia, the scenic designers worked in special areas in the theatre. The backdrops were painted by hand in sections and lowered on a winch to the stage. It was painstaking and demanding work.

The picture above was drawn by C Gordon Stanhope.

More on Scenic designers here

More HAT at the ibookstore

I have released two more short books at the ibookstore. Both are about the stars of the early Australian stage. One book deals with performers in the Royal Comic Opera Company during the late 19th and early 20th centuries.



Details here

Gertrude Concannon- A Great Queenslander

Gertrude Concannon was a Queensland born soprano who toured the world to great acclaim.




She was born in Maryborough in 1899, to Tim and Annie Concannon. The family was quite musical. Gertrude sang, and her two sisters, Josephine and Eileen played the piano and violin respectively.




In the early 20s Gertrude was very popular in Queensland. Her voice was described as having 'crystaline clarity.'


Around 1924 she started studying with Madame Christian in Sydney, a year later she was on her way to the United States to work with the Doree Opera Company.

She stayed away from Australia for 13 years and sang in the United States, London, Egypt, and India.



In 1943 she married John Degnian a man she had known from her Maryborough childhood. The couple married at St Mary's Cathedral in Sydney.



Gertrude continued her career as a singer, composer and teacher of singing in Australia until her death in 1978.



She was a great and talented Queenslander...



If you are able, please help some other great and talented Queenslanders by donating to the Queensland Premier's Flood Appeal . These floods are a terrible disaster for the people of Queensland.

HAT-Website Update

I have updated HAT-History of Australian Theatre website with 300 new names on the database, several new pictures of old performers and an article about Celia Ghiloni.

Remember, HAT books are now available at the ibookstore. Look under my name- Leann Richards. More books will be published in the next two weeks.

In other news Gae Anderson has published a fantastic book about Tivoli founder Harry Rickards. The book is available through her website. A very good read.

And here is Harry Rickards, the English originator of Australia's very famous Tivoli circuit. A generous and ambitious man who rose from English Music Hall performer to millionaire theatrical entrepreneur.

Alfred Tischbauer- Scenic designer

Many years ago I found this lovely print of George Street Sydney, bought it, and put it on my wall.
It was titled, George Street Sydney, 1883 from the original oil by Alfred Tischbauer at the Dixson Galleries.

Last year, I purchased a box of memorabilia which originated with Jack Ricketts, a scenic designer. In the box were many letters some of them were from...Alfred Tischbauer.

Tischbauer, known as 'Tish ' to his friends was a French born artist who was involved in the Paris Commune. According to legend he was deported to New Caledonia and from there came to Australia He was born around 1854 and arrived in Melbourne in 1879.

He began his career as a teacher and fine artist in Sydney, but by the late 1880s was working for theatrical manager Alfred Dampier as a scenic designer.

The Frenchman was not only an artist , he was also a romantic chap. In Melbourne he had an affair with his boss's maid. The poor girl fell madly in love with the exotic artist, and when he didn't return her feelings, she committed suicide. During the subsequent enquiry, Dampier and his family stuck by Tish .

The good relationship between Tish and Dampier didn't last, and in 1893 Dampier declared himself bankrupt and amongst his creditors was Alfred Tischbauer who was owed 591 pounds in salary.

Tischbauer never got over Dampier's betrayal.He worked for a while in Australia as a teacher and then departed for America with his wife in 1903. He worked as a designer for some American managers but didn't enjoy the work.




In 1909 he wrote the above letter to Jack Ricketts.

"I learnt the death of our dear friend A D ( Dampier) as I receive newspapers from Sydney pretty regularly. So that now the chances to recover some of my poor earnings are gone for ever."

It seems that Tish had a long memory and held a grudge. In his other letters he seems educated, articulate, somewhat depressed but always generous.

Tish's wife returned to Australia in 1922 and she was described as his widow. It is assumed that Tish died in the US shortly before her return.