The Dollar Princess – The Tatler – Wednesday 6th October 1909
“THE DOLLAR PRINCESS” AT DALY’S
“The Merry Widow” –
AS long as The Merry Widow was running the ‘”creature” and I were a divided couple. She considered it the most fascinating piece she had ever seen. The acting, the music, and the whole ensemble were to her perfection. For myself there was hardly a part of it – the famous waltz included – that did not leave me cold and critical. Now happily our differences in appreciation have come to an end. We have both at last discovered a piece for which we possess mutual enthusiasm. Its name is The Dollar Princess and it was performed for the first time in London at Daly’s Theatre last week.
And her Predecessor.
Few first nights are so really enjoyable as those at Daly’s Theatre. Few there are which bring together a smarter or more brilliant audience. The “creature” looked positively dazzling in her best frock with her hair done round in the now fashionable bandage that its devotees fondly believe to be Grecian but which in reality looks like nothing more becoming than a headache plaster. The enthusiasm everybody who was anybody received from the hands of the gods and those in the nethermost pit must have been most gratifying to them if a trifle embarrassing. Miss Marie Tempest came in for a goodly share and so did Gertie Millar, while as if to accentuate the hollowness of public praise Miss Edna May, that favourite of such a short time ago, was allowed to enter and disappear without a murmur of welcome. And if every actor and actress of note got their round of applause as they entered the auditorium how much more enthusiastic was the cheering that greeted the performers on the stage. No queen could have received a greater ovation than did Miss Lily Elsie when she made her first appearance coming down the marble staircase of Mr. Harry Conder’s house in New York, while as for the cheering which greeted Mr. Joseph Coyne it was perfectly delirious. Throwing her decorum to the winds as it were the “creature” clapped with the wildest of them. The consequence is that she retired at night with about two fingers and a black-looking rag to take the place of what were once long white suede gloves at but hush, we are not at Selfridges’s.
Plenty of Go.
The Dollar Princess has had the advantage of being previously produced at Manchester before making its bow to London audiences. This has doubtless eliminated a good deal of that superfluous matter which even now still protrudes itself from time to time. It has also enabled Mr. George Edwardes to elaborate those more delightful portions which as they now stand seem incapable of further improvement. All these things prove of an enormous advantage on a “first night.” It is also the exception where musical comedy is concerned. The first act of The Dollar Princess went as well the other evening as it will probably ever go. There was not a hitch anywhere, and it was played by the company with a swing and a verve that was perfectly enchanting. It is, moreover, the best act of the three, and in it Mr. Robert Michaelis, comparatively unknown to Londoners until then, made a very great success. It will probably enable him to remain in the metropolis for the rest of his theatrical career. He has a good stage presence, a fine baritone voice, sings and acts artistically, and if he will but guard against certain mannerisms and affectations somewhat reminiscent of Hayden Coffin will speedily develop into a really first-class artist.
The Story.
The story of The Dollar Princess is quite original enough and far more amusing than that of the average musical comedy. The first act, for which Mr. George Edwardes has provided a perfectly magnificent setting, takes place in Conder’s house in New York. The owner of it is a multimillionaire with a partiality for engaging impoverished members of the British aristocracy as his menials. Over this household rules Alice (Miss Lily Elsie), Conder’s sister, who it may be remarked does so with the proverbial rod of iron. There is not one of her associates who can come near her in prettiness, but she is as wilful as she is charming. She likes to domineer over these aristocrats which her money has brought so low; thus she is all the more astonished when one arrives who for rudeness can beat her at her own game as it were. Nevertheless, in order to tame him she engages him as her secretary. But the task she sets herself is too difficult for her. After falling violently in love with him as he, by the way, has done with her she makes her brother insist upon him marrying her. But her victim only laughs at the idea. He will have nothing to do with a girl who believes that money and money only will gratify every desire in life.
Tragedy.
This decision of his brings us up to the great denouement at the end of the second act, when Alice, baffled, heart-broken, and in despair, seizes hold of another man, dances wildly with him, and at length falls fainting and sobbing into her brother’s arms. It is a scene some what reminiscent of A Waltz Dream, but it is very effective nevertheless, and offers Miss Lily Elsie a moment of highly emotional acting which positively electrified the house. Indeed, Miss Elsie has never done anything half so good as her Dollar Princess.
The Company.
Of course all ends happily at last as is only right. Alice and her secretary pair off together, as do her brother, Harry Conder, with Olga, the lion-tamer, and her cousin Daisy with the Earl of Quorn. Mr. Joseph Coyne as the afore said brother is as airy, as debonair, and as delightful as ever he was as Prince Danilo, and none ol his countless admirers could wish for more. There is no more fascinating light comedian in London. Miss Emmy Wehlen as the lion-taming lady sings nicely, acts well, but by no manner of means looks the part. Mr. W. H. Berry was very funny indeed as Bulger, a confidential clerk to Conder, and Miss Gabrielle Ray, though she had too much to sing and too little to dance, was dainty. The dresses and scenery are among the loveliest that London has ever seen. The music is very charming and the orchestration quite masterly.
The Tatler – Wednesday 6th October 1909
About
One of my main interests is a love of old pictures and postcards that give us a brief glimpse into a past and often forgotten age.
Collecting old postcard and pictures enables the viewer to glimpse a brief moment from that individual’s life; often far removed from their own either by the passage of time or social class. Social History, often described as “history from below” shows everyday people, their social structure and the interaction of different groups; like the wealthy and politicians these people helped shape and maintain society and so shape history.
Examining the images one can’t help but wonder how the individuals lived, were their lives hard compared with today and were they happy. Often the images come with little or no information that can answer these questions, one can only imagine.
With each image saved and seen by others, so that moment, that person is kept alive, our understanding is increased and so our lives are enriched.
A picture is often more descriptive than words can ever be, but how true is this, if a picture enables us to gain entry to another time, another world, will, like the view from a different window, even in the same house provide a different image?
These images allow a glimpse into another time, another era; but what preceded or followed this image? As the individuals were positioned and posed like an artist’s model is what we see truly reflective or like the slightly softened image of an aging beauty a less that truthful representation?
I am reminded of a documentary I watched several years ago regarding the returning troops from the front during the First World War. The camera images show a broken, demoralised sea of humanity, young men who having seen images that most of us hope never to witness had lost that sparkle; that zest which only youth has. But bring on the news camera and that battered returning group came to life, the smiles returned and even though muddied and bloodied their heads and bodies became erect, their arms swung in time and they demonstrated a swagger that spoke of courage, defiance and determination; an image that gave hope to the viewer.
It seems to me that even in the early days of photography all was not what it appeared and now in the advancing digital age a picture may paint a thousand words but will it be factual or fiction?
My interests And collections vary from Maids, Nuns, religious dress and the more risqué images of the French Maid. Often when searching for a particular subject the boundaries cross and as well as true Maids we find Edwardian actresses dressed as Nuns or Maids. During one of my searches I came across Gabrielle Ray dressed as a Maid, “Susan” in Lady Madcap and was instantly captivated by her.
Collecting the individual cards isn’t enough; I like to know more about the individual, which is easier when that person is an actress, although often the information is scarce
Searching for information about Miss Ray I discovered that she was one of the most photographed women of the Edwardian era and described in “Temps” as the most beautiful woman in the United Kingdom; but sadly her success, if measured by being visibly working or in the public eye was short-lived. She struggled with depression and alcohol abuse, and her health declined. In 1936, she suffered a complete mental breakdown and was institutionalized for nearly forty years; dying in 1973 at Holloway Sanatorium at the age of 90.
There are several other sites and blogs dedicated to the memory of Miss Ray and my intention is to share my small but growing collection of pictures and postcards with anyone who shares my interest. Reading about Miss Ray I was saddened that this lady, like many others before and since, after a brief moment in the sun they are soon forgotten. Hopefully as people view and enjoy this blog her memory will remain alive for a little longer.
I have started to write a short Biography about Miss Ray which I will try to update as frequently as possible. The Index page will show any updates under the Biography catagory.
I have also tried to link the various postcards and pictures to the plays in which Miss Ray appeared, however I realise, after several errors that this isn’t an easy task as many are decorative studio poses rather than production images. The individual Rotary, Philco and other publishers numbers are included with any description which should make searching for a particular card or ones from the same set easier. If I have made any glaring errors please feel free to let me know.
Thank you and I hope you enjoy my collection as much as I do.
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