The Myrons- Balancers, Acrobats and Jugglers.

 

The Myrons, jugglers, acrobats and balancers, were features of the Australian stage and circus during the Second World War and beyond. Their voyage from Nazi Germany to Australian citizenship is a classic tale of the variety stage.

Arno Koehler ( Kohler) and Felix Slawinski were both born in Germany. Arno in 1905 and Felix in 1903. Felix was a wrestling champ and Arno a gymnast and they met while training. They paired up and produced a balancing and equilibrist act that astounded and surprised audiences.

In April 1939, the pair travelled to Australia under contract to the Tivoli circuit. Due to tensions with Germany, they were billed as Austrians who did not drink, smoke or keep late hours.

Their first performance was at the Tivoli Melbourne. They were jugglers, balancers and antipodean experts.

Their act was primarily balancing. Felix lay on his back balancing a ladder which Arno climbed. On top of the ladder Arno performed various feats. He stood on his head, he juggled four rings, performed hand stands and then lying on his back, twirled an axle with two large motor wheels with his feet. It was a turn that astonished Australian audiences.

Their tricks were called breath taking, and they were labelled ‘perhaps the finest acrobatic act that Melbourne had seen’.

Arno and Felix were performing as tensions with Germany were increasing. They shared the stage with comedians and satirists who used the international situation as part of their act. One such comedian was American Sammy Cohen who was Jewish. Cohen made jokes about Germany's treatment of their Jewish population. Sammy quipped that he had been offered a job in Germany for a lucrative salary with all funeral expenses paid. Such jokes were plentiful on the Australian stage in 1939 and Arno and Felix who spoke little English must have been the subject of conjecture and suspicion.

However, they were determined to participate in the life of the local community, and before leaving Melbourne for Sydney they contributed to a charity performance in aid of the local children’s hospital.

As war in Europe crept closer, the jugglers performed in Sydney, Brisbane and Adelaide. By September 1939 they were in Melbourne. On September 3, Australia joined England and declared war on Germany.

Felix and Arno became subject to the Alien Registration Act. Their every movement was monitored and they were obliged to register as enemy aliens. As such, they were legally forced to register with the nearest police station if they travelled around the country. They were also fingerprinted and subject to internment in camps of dubious quality in remote areas of Australia. Their livelihoods and freedom were at the whim of the Australian government.

On September 13^th both men registered with the St Kilda Police, their fingerprints and photos were taken. Alien 74 and Alien 75 were officially registered and issued with cards confirming this.

Their careers seem to have stalled immediately after war was declared, however, by March 1940 they were working with Wirth's Circus. They travelled around the Australian countryside to towns big and small as the Balancing Myrons. At every stop they registered with the local police and had their alien cards updated.

Unfortunately, working with the circus had unexpected hazards. For example, the circus animals did not recognise the importance of alien registration cards, and this almost caused a catastrophe that could have ended the freedom of the jugglers.

One day while raising the big top, Felix and Arno hung their coats on a fence. A curious elephant strolled by and investigated the contents of their pockets. Finding something papery, the elephant ate the contents. Unfortunately, the appetising papers were actually registration cards 74 and 75.The  Myrons raced to the nearest police station to get them replaced, and the duty officer duly noted that the originals had been eaten by elephants.

However, not all encounters with the authorities were so humorous. In 1941 Japan entered the war and this led to harsher restrictions for enemy aliens in Australia. There was an official ‘round up’ of Japanese people in Sydney, and Wirth’s Circus was targeted. Their alien performers were investigated and a Japanese acrobatic troupe, performing with the circus, was interned.  Felix and Arno escaped this fate and remained safely with Wirths throughout the war.

In 1944, perhaps attempting to avoid internment, the acrobats applied for Australian naturalisation and in 1947 they attained Australian citizenship. That same year they performed with George Formby and followed him to England. In 1948 they performed at the Royal Variety Command performance in front of the Queen.

After touring the world, Arno and Felix returned to Australia to perform in theatres. They were popular and well received wherever they went.

The Myrons, Felix and Arno weathered the storm of World War 2 safely in Australia. They lived their last years in the country. Felix died in Melbourne in 1979 and Arno, who had married and had at least one child, died in Sydney in 1987.

Book

 

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Les Brunins- Billiard Ball Jugglers

 

‘She is lovely, she is divine and as shapely in form as she is classical of feature…. He is by no means beautiful’

 

Such was the description of Les Brunins, French billiard ball jugglers, during their tour of Australia in 1905. The pair returned to the country in 1910 to repeat their success on the Tivoli Stage.

Les Brunins were Jeanne and Maurice Brunin, French natives who came to Australia after touring the English provinces. Jeanne, born Julie Jeanne Joubaud around 1882 was 10 years younger than her husband. According to a 1902 English newspaper, Maurice, originally trained as a circus performer, had known her since she was 9 years old and the two had never parted since being married in Paris in 1901. They had at least two children by the time they arrived in Australia, Marcel and Jeanne.

When they arrived , Jeanne was 23 years old and Maurice 33. One of his first pronouncements upon setting foot in Australia was a declaration that their act was unique and that the billiard balls they used were real.  These were claims he continued to assert aggressively for 20 years.

They were engaged to the Tivoli circuit and began their tour in Sydney in September. They played an unusual kind of billiards using a small table and regular billiard balls. Maurice, taking a cue, bounced balls off the cushion of the table into nets that he carried on various parts of his body. Then Jeanne, in a beautiful orange dress donned a mask and Maurice shot the balls from the table to pockets attached to her head and shoulders.

Maurice blew out a candle with a well struck ball and even played a tune on bells with them. He was said to have a ‘sure aim and remarkable power over his cue.’

 Jeanne also  juggled the billiard balls.

Finally, she removed her elaborate dress, and in tight fleshings rode a bicycle around the stage while Maurice bounced balls from the table onto nets attached to her body. To conclude the act, he lifted wife, bicycle and table onto his back and carried the three off  stage.

Their costumes were elaborate, with Jeanne’s dresses said to be so beautiful that they  ‘ took away the feminine breath’. Their French style made their turn a popular one with Tivoli audiences in Australia.

The pair stayed in the country for three months and then departed for the United States. Their reception there was less enthusiastic.

Variety’s review was luke warm, saying

Juggling. Hammerstein's. For the first appearance in this country Monday afternoon Les Brunins did very well with billiard ball juggling. A man and woman attend to the work and the woman is attractive through her good looks, splendid proportions and the hand- some dress worn at the opening. ……….The juggling is not novel, having been shown by W. C. Fields and Aszra. Several new tricks are shown, and the finish where the woman in fleshings and pantalettes rides a bicycle catching the billiard balls thrown by the man from the table gives a showy close. With fewer misses the act will do easily. The style about it wins.

 Maurice took offence at the implication that the act was copied from Fields or Asra. He immediately wrote to the editor to refute those claims.

 

Editor Variety:

In Sime’s review of our act last week at Hammerstein’s, he mentioned W. C. Fields and Asra. I wish to let you know that we are the originators of this act. I took an affidavit to that effect in Toledo in 1901. I can prove I was doing this act long before Fields. He will tell you so himself. As for Asra, everyone knows that he has a poor copy of our act. The only difference is that Asra uses rubber balls, while we have real ones. I am absolutely certain if he sees my act now he will try to copy the bicycle trick also.  Of course I do not claim to be the originator of the “jumping ball” Any good billiard player can do that with a little practice, but I do claim to be the originator of every way we catch the balls and of everything we do with them. M. Brunin,

 

In 1910 Jeanne and Maurice returned to Australia with the same act. Maurice performed with a lady called Liane De Lyle. However, shipping records indicate that this was Jeanne.

Titled ‘ In a billiard Saloon’ Maurice and ‘Liane’  performed feats with billiard balls that ‘displayed remarkable dexterity’

In Adelaide, Maurice ‘ bounced a billiard ball off the cushion of the table, causing it to rebound off a pad which he bore affixed to his forehead. From there a sudden lurch forward on the part of the performer sent the ball spinning back across the stage into a net arranged on the head of the lady artist who was cycling around the floor’

 This remarkable feat drew wild applause in the theatre which had never seen such a unique act on stage. The newspaper described the audience as ‘dumbfounded’ by this trick.

 

Liane De Lyle’s toilette and costumes were a highlight of the act, and her beauty was much admired by newspaper reporters. However, one point bothered them. The Parisians insisted that the billiard balls they used were ‘real’, an assertion that the reporters found baffling because it seemed unnecessary,

 After leaving Australia, Les Brunins continued performing their billiard act around the world. In 1914 they travelled from Brazil to the USA but were using different names. They were now billed as the Kervilles.

 Variety described their act in 1917 as follows.

 The Kervilles. Jugglers.7 Mins. The Kervilles, man and woman, give most attention to billiard ball juggling off a prop table, much the same as W. C, Fields has done, only the Kervilles neglect the comedy Fields tried for and secured. The woman is pretty and well formed. She rides a cycle in tights toward the ending of the turn. Where this sort of juggling is unknown the act will do nicely, but rather in the opening position.

Maurice, again leapt to defend their originality by responding promptly to this review.

 Editor VARIETY:

In Variety’s notice today of the Two Kervilles, it said we do much the same as W. C. Fields has done, etc. We are the Brunins, the originators of the billiard table acts and W. C. Fields copied his act from us, as may be easily found out at the United Booking Offices, or my agent, H. B. Marinelli. I took out my papers for this act in Toledo in 1900, some years before we returned to France.

M. Kerviile. 26/9/17

 As the three Kervilles, the Brunins performed around the world until the 1920s. After that date they disappear from the records, although the memory of the ‘divine’ Jeanne Brunin remains on a postcard in the Australian Tivoli Artist series of 1905. (pictured above)

Will Van Allen- The Musical Tramp

 This is Will Van Allen- The Musical Tramp in 1908

Will was born William Augustus Dodd in 1875 in England. 

Around the turn of the 20th Century, Will began appearing in English theatres as 'The Musical Tramp', He apparently played over 100 instruments in his turn.

In 1900 he got married in England ( perhaps to the lady below) and 4 years later he came to Australia.

He was engaged to the Tivoli circuit. During his act he punctuated humorous patter with playing a banjo, a 1 string violin and some unlikely looking articles.

He also toured New Zealand, where he was billed as a High Class Musical Act direct from London. 

He returned to England in 1905, and continued working in the music halls and theatres. In 1914 he toured the front lines of the war with Ellaline Terris, Seymour Hicks and Gladys Cooper. It was one of the first touring companies ever allowed to perform on the battlefield.

Will graduated to the radio in the 1920s. In the late 1920s he bought an antique store in London and you can see him in a picture here. In the 1930s he appeared in a movie.

 

Will entertained people all his life and  died in London in 1970. 

Some photos of Jugglers in Australia

My book What Goes Up. Australian Juggling to World War 1 is now available from Amazon for pre-order.

In honour of this momentous occasion I'm posting some photos of jugglers who appear in the book. Regrettably, only the photos that I own could be published in the book, the rest of the photos here come from the newspapers. 

A cigarette card in my possession.

Derenda and Breen from the newspapers- 

The Harbecks- He gambled -  she juggled. ( newspaper photo)

Joe Jalvan top right balancing (newspaper photo)

Kara- Sydney gave him appendicitis - from the newspapers. 

Lennon Hyman and Lennon- Australians- from my collection

Lucy Gillet- a postcard in my collection

Morris Cronin- the best club juggler in the world? From the newspaper

Rhodesia- The female Cinquevalli.(newspaper photo)- in the middle

Selbo (from the newspaper)

Victor Martyn early in his career (my collection)

Stan Kavanagh- later in his career (from my collection)

The Carmos ( from the newspapers) Friends of the Martyns.

W C Fields as he appeared in Sydney 1903 ( from my collection)

Anita Martell in Australia

 

Irish born juggler Anita Martell spent most of World War 2 performing in Australia on the Tivoli circuit.

Anita was born in 1916 in Dublin Ireland, her real name was Nita Janette Davidson, though she appears to have used the name Janette. Her father, John Davidson, stage name Martell, was a professional juggler and her mother, Mona Anderson, known as Mona O Leary, was a singer.

The family moved to England when Anita was a child and by the time she was 14 she was performing on stage as a singer and dancer. One day her father saw her playing with tennis balls in the backyard and he decided to train her in his own profession- as a juggler.

John trained her 8 hours a day and she hated it. It took a long time for her to gain confidence in her abilities. The noise of her training became so annoying to the neighbours that the Davidson family had to hire a hall  to avoid their complaints.

At her first juggling audition she dropped regularly, however she was hired and made her professional juggling debut at age 17 with the Windmill theatre in Brixton.

Her career progressed rapidly, and in 1936 and 1937 she appeared in two films, Cabaret and Windmill Revels.

In 1939 she met future husband, singer and performer Len Young. Len’s real name was Louis Yenish he was Jewish and born in England. But the youthful romance did not last and the pair split amicably.

Until the next year when Anita heard Len dedicate a song on the radio to AM. Anita phoned Len and the two reconciled. In 1940 the pair married and shortly afterwards travelled to Australia for a working honeymoon.

London, of course was suffering from German air raids, so the trip to Australia was not only a voyage for work but a bid for safety. Len had been exempted from service, so was free to join his wife.

They arrived in late 1940 and started working immediately. They were contracted to the Tivoli circuit which was suffering from a lack of performers due to war exigencies. Anita’s versatility as a juggler, a singer and a dancer, meant that she was a valuable addition to the Tivoli’s dwindling roster.

In 1940 Anita appeared at the Majestic Theatre in Adelaide in the revue Vogues of Variety as a juggler. She wore long black silk tights, ‘the briefest’ of cloth black shorts, a tailored white waistcoat and black jacket, which complemented her slight 160cm frame, hazel eyes and brown hair.

She juggled tennis balls whilst keeping up a humorous patter and she also juggled hats. She was fast and dexterous, and claimed to be the only feminine juggler in the country. The revue travelled to Sydney and Brisbane where the reviewer said that there ‘was a freshness and vitality to her work which makes it outstanding.’ Her good looks and skimpy outfit were part of her attraction, and most reviews concentrated on these aspects of her performance. Whilst juggling she kept up a humorous patter. One joke revolved around her father, ‘ My father taught me how to do this trick, he can’t do it himself.’

She followed her appearance in Vogues of Variety with Black Velvet, a major revue which travelled all around the country. She was very popular in Brisbane where she gave several interviews to the newspapers including one where she admitted that juggling was exhausting and that she ended every show feeling like a ‘wet rag’. Despite this she still had the energy to take an active interest in fashion and designed most of her own costumes. She also trained at least 2 hours a day.

During 1940 and well into 1941 Anita played almost constantly in various revues around the country. One significant show was the all ladies show, ‘Ladies First’, which was apparently the first all female vaudeville show ever produced ( according to the Australian newspaper) .  One review said it may have ‘lacked the robustness provided by a proportion of masculine turns’ but  ‘there are still sufficient headliners to make a good show’ and it was ‘tuneful and colourful’.

Anita’s husband Len was in many of the shows with Anita and performed vocal impressions and humorous patter. However, Len’s work permit was limited and he was soon battling immigration authorities to stay in the country.

In late 1941 Len’s working permit expired. Anita had no desire to return to England, but Len, who had been exempted from military service, was being forced to leave Australia.

Len had failed the notorious Australian dictation test. The dictation test, a flimsy cover to preserve Australia’s racist “White Australia Policy’ meant that any prospective visitor to Australia could be asked to take a dictation test in any language. If they failed the test they were not allowed to enter or remain in the country.

British born Len had been asked to take a dictation test in Romanian, and had, of course, failed. It is probable that his Jewish heritage played a part in the farcical situation.

Len appealed his proposed deportation and was allowed to remain in Australia for three months but he had to pay a large bond and report to Immigration authorities regularly.

That Christmas, Anita displayed her versatility again by appearing in the annual pantomime Cinderella as ‘Dandini’. In January 1942 Anita appeared in ‘Laughter Express’ and was described as a ‘dapper streamlined young lady’ who promoted the ‘bare leg mode’. The newspapers heartily approved.

Anita and Len disappeared from the Tivoli circuit around April 1942 and Anita returned to prominence in October the next year. They probably temporarily left Australia to sort out Len’s work permit problems. His three month extension expired in April.

From October 1943 to the beginning of 1944 Anita appeared regularly in Tivoli vaudeville revues. She juggled, she sang, she danced, and she supported names like Ethel Formby, sister of George, and Roy Rene- Australia’s superstar comedian.

War time shortages were beginning to hit stage props by 1944 and Anita was having difficulty getting silk to line her hats. This was considered a minor inconvenience in the latter stages of the conflict.

In February 1944 Anita left Australia and travelled to California. She travelled under two names, Janette Yenish and Anita Martell. She gave her last permanent residence as ‘Tivoli Theatres Australia.’ She had been in the country for most of the last 4 years.

In 1946 Anita performed in a USO show in Guam, but she returned to the mainland US regularly. She travelled to France and back to the US and in 1951 married Californian humourist Roger Taylor Price. Anita and Price worked on the TV show ‘How to’ for CBS  together. The marriage lasted a year, and mentions of Anita are rare from that date.

She is said to have died in the United States in 2000.

Updates and such

 I've had some time recently, so I'm trying to reorganise all my theatre history information and update my original website, hat-archive.com, to make it more user friendly. I've started with a landing page  that I hope will do that.

You can visit the new, improved HAT easily. 

I have incorporated a new mascot- Hattie to motivate me.

Hattie comes from the front page of Fuller News- a Fuller theatre magazine programme from the 1920s- I'm particularly fond of her dog.

I'm also trying to organise my ridiculously large number of theatre programmes into a database. It's a big job that will probably take years. There's a link in the side panel if you'd like to take a look..

I'm also trying to keep the blog updated regularly.

Naturally it's unlikely that I'll manage to do all this...but I can only try...

The Kremo Family in Australia.

 

Between June and October 1910 the most accomplished Risley act in the world, The Kremo family, visited Australia.

It was Harry Rickards, the legendary owner of the Tivoli who brought them to Australia, and it was Cinquevalli, the equally legendary juggler, who persuaded him to do so.

Rickards was in Blackpool England, chatting to his good friend and reliable money maker, Paul Cinquevalli when the juggler introduced him to Silvester Kremo. Rickards checked out the act and invited Silvester and his family to Australia. It took 5 years for them to get here, because they were so popular.

10 members of the Kremo family arrived in Sydney in June 1910 including Silvester, the leader, his wife, Victor and  Leon, who were twins, Eugenie, Ella, Emma, Frances and an infant.

The Kremos were experts in Risley work,  acrobatics with the feet. Their specialty was tossing a human being from one person lying on their back to another lying on their back . The youngster who was tossed like a football during the Australian tour was not a relative, because, as Silvester told a reporter, ‘even the most obliging of parents cannot be expected to keep up a supply of light youngsters.’

The four sisters were interviewed in Sydney, and were full participants in the show. They practised every day, but they told reporters that practice was like play to them. Eugenie, the eldest, was the only woman in the world who laid on the cushion and juggled people

They played in Sydney, Melbourne and Adelaide and were greeted with wild applause in every city.

In Melbourne the performance was described as;

A stage filled with whirling, bounding, spinning figures whose gold spangled vestments are a blaze of light

The turn included a bit where three Kremos laid on their back and tossed three other Kremos from one to the other. A small boy, dressed in a checkered costume was a highlight, as he was thrown from Kremo to Kremo like a rubber ball .

The Kremos stayed in Australia until October when they sailed away for another 6 years of solid bookings.

The poor quality photos are from contemporary newspapers.

Australian Juggling History- The Book, Arnold Jarvis- the Boy Cinquevalli, and Mills Mess

 A few bits and pieces

Recently I bought this beauty- I've always wanted one....why? 

This beautiful watercolour was painted by Arnold Jarvis, also know as Arnoldi, a juggler. Arnold was born in South Australia and had a short juggling career that included appearances at the Tivoli theatre. He was billed as the 'boy Cinquevalli'. Everybody was Cinquevalli in Australia in the 1900s.Later he became a landscape painter. He was apparently trained by Ashton- Juggling, and Hans Heysen- painting. For some performances he would combine juggling with lightning sketches...

Arnold's descendants are still around and I had the privilege of talking to them about Arnold when I was researching this....

My new book about Australian Juggling History. I received the final proofs this week and hope it will be published in the next month or so...The publisher is Ginninderra Press, who have published my other books. They are great people.

Finally, while I wait for the book to be published, and between work shifts, I am trying to master the wonderful art of Mills Mess with juggling clubs.

Bruises, drops and screams of frustration are already part of my life in this quest. So if you see a juggler with blue clubs and blue arms and legs (from bruises)  screaming loudly please be understanding of my difficult position..

Joseph (Joe) Jalvan - Juggler

Minstrel troupes were always popular in Australia, and none were more popular than those brought to the country by the remarkable and amazing Orpheus McAdoo.

McAdoo was born a slave in North Carolina, began performing with Loudin's minstrels, and finally became an entrepreneur, touring African American minstrel troupes around the world.

In the 1890s he took his team to South Africa, and on a scouting trip to the US for more talent, he found juggler, Joseph Jalvan.

Joseph was reportedly born in Pensylvania, and worked with McCabes minstrels in Philadephia and Cuba in the early 1890s. In the latter country he was so popular that a fan gave him a diamond pin.

In 1897 he joined McAdoo in South Africa and was very popular there too. However, the prospect of war led McAdoo to decide to take the troupe to Australia and they arrived  in 1898.

Jalvan was a juggler, balancer and magician. He juggled plates, spun tops and balanced pipes, and a live pigeon.

You can see Joseph balancing various objects on top of some clay pipes held in his mouth in the picture below which comes from an Australian newspaper.

During his tour of Australia, Jalvan seems to have had a falling out with his boss and with some other performers started his own touring group, He married a local woman, Catherine Webb and left Australia to continue his juggling career in the United States. He was juggling up to 1929, where he seems to disappear from the records.

Cinquevalli- in NZ archives and more....

It's been a while since I posted here.

But I'm still researching some theatre history when I get the time.

 I received a present for my birthday last month...

A beautiful watercolour of Cinquevalli- I wonder if anybody has information about when or where this painting was produced?

It seems to be based on a photo in the New Zealand archives. 

I am very curious about its provenance and welcome any comments/suggestions.

He was gorgeous wasn't he? 

I went to Berlin and all I got were these (phenomeonal) postcards

Of course on my latest trip to Europe I went postcard hunting. Here are some of the many I picked up.

Most of these are vaudeville performers, and I found these cards at the Tiergarten markets in Berlin.


Below are some postcards of the Kremo family, they were Risley performers (they juggled things and people with their feet) and they visited Australia in 1910.

So from the bottom. Firstly, we have Ferry Mader, who was identified by juggling historian David Cain. You can read David's article about Ferry here.

Above Ferry is a postcard of a man who I think was called Fred Lesando,a musical clown.

Above Fred is Gerdy- Gerda, - I have no idea who this is.

Next we have from the top, Bobby Lang, and below him a lady who balanced plates. There is no name on this one.

Next, a repetition of the Kremos and a postcard of Tommy whose last name is unknown, but it looks like he is using a teapot as a diablo.

Below is the elegante Adoni, he's balancing glasses.

Finally, a page from a 1980 programme from the Hansa theatre in Germany. Yes, we have some club jugglers....

I have many more acquisitions from my latest trip which I will be posting soon.

If you can help with identifying or contributing information about the above photos, please drop a line.