Clara Evelyn – The Stage – Thursday 12th June 1980
THE last of George Edwardes’ Gaiety Girls, CLARA EVELYN died at her home in Cadogan Place, London on May 21. This beautiful and talented concert pianist and leading lady was 99.
In the original production of the “Merry Widow” at Daly’s in 1907 she was understudy to Lily Elsie, who created the role of Sonia, taking over the part in February 1908. In 1911 Clara Evelyn played in Paris in “The Quaker Girl,” and later the same year appeared in the title role in “Bonita” in London. These triumphs in the musical theatre of yesteryear were matched only by her worldwide success as a concert pianist. Trained at the Royal College of Music, her first public performance was in front of the Prince of Wales, later King Edward VII, in 1891 and when teamed later as a piano duo with Ivy St Helier they appeared on programmes with George Robey and John McCormack in the halcyon days of the music hall both here and in America.
Following nearly 25 years of retirement, “I started a new career,” Clara Evelyn used to say, when in 1973 she played the piano with as great a brilliance as ever on “Opportunity Knocks.” She won the programme, the hearts of millions and signed a recording contract with Norman Newell for Contour Records. Her LP sold 30,000 copies within three weeks. Clara Evelyn’s last appearance was in her 95th year, when she delighted millions both in Britain and Australia by playing on the world’s first two-way satellite exchange show between the two countries.
It is interesting in this age of satellites and other technological wonders to note that Clara Evelyn’s father was born in 1815, 165 years ago. The passing of this beautiful and talented lady of the theatre quite possibly breaks the last living link with the Battle of Waterloo, on the eve of which her father was born. Hughie Green
The Stage – Thursday 12th June 1980
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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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