Gabrielle Ray

'Gabrielle Ray said, 'I am always dancing; I love it! When I don't dance, I sing. What else is there to do?'

Lady Madcap (Rotary 1939 G)

September 27, 2020 Posted by | Actress, Deltiology, Gabrielle Ray, Lady Madcap, Rotary, Social History, Uncategorized | , , , , , , , , | Leave a comment

Gabrielle Ray – Engagement – John Bull – Saturday 17th February 1912



 [The engagement is announced of Miss Gabrielle Ray,

the Gaiety actress and picture -postcard favourite, to Mr. Eric Loder.]

Queen of the firmament of “stars,”

She names the wedding day,

And happy is the mortal who

 Has captured such a Ray!




John Bull – Saturday 17th February 1912


September 23, 2020 Posted by | Actress, Engagement, Eric Loder, Gabrielle Ray, Social History, Uncategorized | , , , , , , , , | Leave a comment

Lady Madcap (J. Beagles G 665 W)

September 21, 2020 Posted by | Actress, Deltiology, Gabrielle Ray, J. Beagles, Lady Madcap, Social History, Uncategorized | , , , , , , , , | Leave a comment

Kimono (Rotary 1956 B)

September 19, 2020 Posted by | Actress, Deltiology, Gabrielle Ray, Kimono, Rotary, Social History, Uncategorized | , , , , , , , | Leave a comment

£150 – The Bystander Wednesday 16th May 1917


“£150” at the Ambassadors Theatre



THE title of this “war economy” revue is supposed to represent the cost of its production. Mr. C. B. Cochran has since admitted that at the last moment he was obliged to lay out an additional sum of £4 15s., but did not consider this extra outlay justified any alteration in the title in question. I should not be surprised to hear that when the accounts are finally audited it will be found that there is a further threepence or so unaccounted for, and if that should prove to be the fact, I am sure Mr. Cochran will hasten to announce it. I mean, in these matters we ought to be as exact as possible. THE first half of this jovial entertainment is mostly occupied with caricatures of rival revues. Some times I think this idea is not always a safe one, because it assumes that everyone is familiar with the entertainments burlesqued, and that is not always the case. To take the not particularly humble instance of myself, two of the burlesques dealt with meant little to me, because I had not seen the originals; and I am not vain enough to believe that I am a special creation. But the rest of the revue is crowded with rich and rollicking fun that must be good for everybody. A pathetic little incident shows how the far-reaching Defence of the Realm Act affects even obscure individuals who had asked for nothing more than to be left in their agreeable obscurity. Two young people were at supper in a private room of a restaurant. They were just beginning to get along together quite nicely, when the fatal hour of nine-thirty struck The waiter, who always does come in at the wrong moment in these cases, dashed into the room in order to remove the drinks according to law, and, as they say in the papers, the meeting then broke up in disorder.

THEN the temptation of the modern sweet shop is ruthlessly exposed. It seems that what with the general rise in prices, and one thing and another, the dear girls simply cannot afford to buy for themselves the delicately frilled goods their hearts desire. The makers of expensive chocolates, whose occupation is now gone, have, consequently, hit upon the enterprising idea of filling their decorative boxes with more fanciful wares. So that when your best girl asks you to buy her a box of chocolates, and you find you have to pay three guineas for the privilege, you may reasonably conclude that there is more in it than is designed to meet the eye. The scheme is new to me; but one is never too old to learn the things one ought not to know.

THE life and soul of the production is, of course, the désopilant  Leon Morton, who seems to be the one real laughter-maker left in a jaded world. One of his best scenes is concerned with a lady who has been “godmother” to the usual lonely soldier. The lonely soldier has written after many days to say he is calling to see her but instead of a young and handsome fellow in a trench-stained uniform, the “lonely soldier” turns but to be an immaculately dressed old gentle man of the kind usually, I believe, described as a blasé roué.  He explains that he does really well out of this lonely soldier business, as his “god mothers” send him all the champagne and smokes he requires for his simple needs. Morton is quite great as the sinful old gentleman. When his indignant “godmother” orders him out of the house he commences to make gentle overtures to her maid, and sets the house roaring by observing with a fine philosophy, doubtless born of long experience, “Si on ne pent pas avoir la peche, il faut

secontenter dei’’oignon.” What?

An amusing scene is that which shows the interior of a big West End shop before and after the war. Here Morton, who is sometimes the shopwalker and sometimes the commissionaire, is very droll; and the whole scene is very well conceived. The principal lady, the delightful Mlle. Madeleine Choiseulle, is well supported by Miss Daisy Burrell, who sings well and is sprightliness itself. “£150” is full of good things from first to last, and should keep the Ambassadors Theatre busy for many months to come.



The Bystander – Wednesday 16th May 1917


September 16, 2020 Posted by | Actress, Amy Webster, Gabrielle Ray, Social History, The Bystander, Uncategorized | , , , , , , , , , , , , , | Leave a comment

Gabrielle Ray (Philco 9001 A )

Missing word series

September 15, 2020 Posted by | Actress, Deltiology, Gabrielle Ray, Philco, Social History, Uncategorized | , , , , , , | Leave a comment

Gabrielle Ray (Rotary 11726 B)

September 15, 2020 Posted by | Actress, Deltiology, Gabrielle Ray, Kimono, Rotary, Social History, Uncategorized | , , , , , , , | Leave a comment

Aimee Webster – Hello! Morton – The Stage – Thursday 7th June 1917






On Monday, June 4, 1917, was produced here a revuette, compiled by Douglas Furber, entitled, “Hello! Morton.”

The many admirers of Leon Morton, the droll revue comedian from the Ambassadors, were disappointed at the London Coliseum on Monday afternoon. The piece in which he appears has been compiled by Douglas Furber from certain Harry Grattan-Walker Hackett episodes from the long string of revue successes at Charles B. Cochran’s cosy little theatre, but most of the business, it must be confessed, runs to something like seed in the auditorium of the St. Martin’s Lane house. Nor have the excerpts themselves been wisely chosen; it would be easy to name several other items from the Charles Cochran revues better suited to the general variety purposes of the French comedian. No doubt better selections will be made in due course, and, in view of other surroundings, a proper disregard exercised in regard to the theatre intime atmosphere in which most of them have been conceived. The present business shows Morton being used as a war map, a device which has already lost its novelty; as the would-be reciter, with interruptions of a dramatic poem; and as the Highland soldier in the wordless episode called “A Highland Soldier’s Dream.” In each item he has the assistance of Douglas Furber, James M. Campbell, Sylvia Dancourt, and a company of ladies including Peggy Connor, Dolly Cullin, Joan Emney, Mona Fraser, Ann Furrell, Aimee Webster, Kathleen Maude, Irene Russell, Siddons Saharet, Ena Strange, Maisie Walsh, and Evelyn Wells.

George Graves’s sketch, “What a Lady!” has wisely benefited by criticism, the result being a succession of laughs. Myra Kenham now plays the part originated by Winifred Wing. Mabel Mann’s resonant contralto is well suited to the house; and warm hearted applause greets the musical interlude by Julien Henry and company, although its dialogue, which is weak, should be discarded. Bruett, the French poilu, sings in French and English, is a great favourite for a most acceptable act, his Entente cordiale business with a British Tommy being not the least attractive feature of a thoroughly attractive and topical turn. Other items on the programme are by the Five Jovers, in an acrobatic act; Jack Pleasants, the shy comedian; Grock, the inimitable French clown; Coram, an established favourite;  and Dainty Doris, a charming comedienne and graceful dancer, who should figure more frequently in the West End bills.


The Stage – Thursday 7th June 1917

September 15, 2020 Posted by | Actress, Amy Webster, Gabrielle Ray, Social History, The Stage, Uncategorized | , , , , , , , , , , , , , | Leave a comment

Daly’s Theatre – E. F. A; London Theatre Series no 1004 – 16th December 1907

The reverse shows that the sender attended the 279th performance and their comment was correct at the show ran for a total of 778 performances

September 13, 2020 Posted by | Actress, Deltiology, Gabrielle Ray, Social History, The Merry Widow, Uncategorized | , , , , , , , , | Leave a comment

Gabrielle Ray – The Orchid – The Graphic – Saturday 31st October 1903

As early as five o’clock in the morning one man took up his stand outside the gallery. At six was joined by others, and, as the morning wore on, the little crowd grew, till by half-past nine it numbered some twenty or thirty. Many messenger boys were engaged to keep the places of those first-nighters who could not spare the time themselves. In the afternoon there was a heavy shower, which did not add to the comfort of the patient crowd. Our photograph was supplied by Bolak






“The Orchid”


THE task of getting to the GAIETY Theatre through the rattling showers and flooded streets of Monday evening was a little difficult, but in all else the stately and luxurious new playhouse which Mr. George Edwardes has caused to be erected hard by the site of its now vanished predecessor and namesake, may be said to have commenced its career under the happiest auspices. The management, as the reader is aware, stand by the traditions of the house, within whose walls the old-fashioned formless “burlesque” passed, by a regular process of evolution, into the combination of farce and dancing, music and story, which is now known by the not very distinctive description of “musical play.”

Mr. Edwardes has once more invoked the aid of half a dozen practised hands; it is, in fact, the permanent staff – Mr. J. T. Tanner furnishing the book, with the exception of the lyrics, which are supplied by Mr. Adrian Ross and Mr. Percy Greenback, while Mr. Ivan Caryll and Mr. Lionel Monckton have composed the music, and Mr. Paul Rubens has contributed “additional numbers.” Mr. Tanner has on this occasion gone further afield than usual in search of his leading motive. Mr. Tanner has handled the idea of orchid-worship in his own way, subdued it to his humorous purposes, and interwoven it with a double, or rather triple, love story, which is found capable of giving rise to many diverting situations. I do not, of course, propose to follow in any detail the windings of The Orchid, the first act of which passes in this country in the grounds of the Countess of Barwick’s Horticultural College, while the second act carries us away, together with the chief part of the personages of the piece, to the Place Massena and the Grand Opera House at Nice in carnival time – scenes that were received with enthusiastic applause. Both time and space, indeed, would fail to tell, even in outline, why Mr. Aubrey Chesterton, our Minister of Commerce, is bound under the terms of a wager to procure a certain precious orchid and deliver it in Paris by an appointed date or how, with this object in view, he is fain to enlist the services of his scapegrace nephew, the Honorable Guy Scrymgeour; not to speak of Zaccary, a professional orchid hunter, whose, happy hunting-ground is in the fields of far Peru; or how the precious plant – which, by the way, seems to be capable of surviving much ill-usage – falls, on and off, into the hands of Meakin, the quaint little gardener of the Horticultural College. Still less easy would it be to explain how the whirl of events arising from this datum is associated with a clandestine marriage at the local Registrar’s between Scrymgeour and Miss Zaccary, a pupil-teacher at the College, simultaneously with the union, before the same functionary, of Scrymgeour’s impecunious young medical friend Fausset with the sprightly and bewitching Lady Violet Annstruther. Yet another engaged couple appears in the forefront of these erratic proceedings, for little Meakin, in a captivating disguise, has wooed the vulgar, wealthy, good-natured Caroline Twining, and is only waiting for the expected pecuniary fruits of the “orchid hunt” to claim his bride. Such are a few indications of the story, for which the composers have written clever songs and tuneful music.

The piece is supported by the whole strength of the GAIETY company. Miss Gertie Millar has not hitherto been seen to so much advantage as in the part of Lady Violet. Her song, “Please Inquire of Little Mary,” was among the most notable successes of the evening. Mr. Edmund Payne’s Meakin had the merit of improving as the piece developed. His tramp duet with Mr. George Grossmith junior, who played Scrymgeour with much comic force, is among the happiest of the humorous episodes but Mr. Payne’s peculiar vein of drollery found, perhaps, its best expression in the mock duel with the Count de Cassignat, which forcibly recalled the exploits of Mr. Acres in King’s Mead Fields. That great favourite of Gaiety audiences, Miss Connie Ediss, who plays Caroline Twining, is specially fortunate in her songs – notably in her mock sentimental duet, “Life is an Omelette,” with Mr. Payne. Miss Ethel Sydney’s refined singing and dancing in the part of Josephine Zaccary also contribute much to the success of the piece.

The Graphic – Saturday 31st October 1903

September 10, 2020 Posted by | Actress, Gabrielle Ray, Social History, The Gaiety Theatre, The Orchid, Uncategorized | , , , , , , , , , | Leave a comment