Gabrielle Ray – Betty – London Evening Standard – Saturday 30th October 1915
MISS GABRIELLE RAY.
REAPPEARANCE IN “BETTY” AT
DALY’S THEATRE.
That very charming musical comedy “Betty,” at Daly’s Theatre, was farther enlivened and brightened last night by the presence of Miss Gabrielle Ray, this being her return to the stage after an absence of several years. How much musical comedy has lost in that interval was shown by the reception given to her, and by her bright and happy work in the part of Estelle.
Another notable newcomer to the cast is Mr. Lauri de Frece, who takes up Mr. Berry’s mantel in the part of Jotte, maker of modes. Mr. de Frece’s methods are quite different, but he is none the lees an excellent comedian, and a decided success. Both the newcomers bring some very good songs with them, and Miss Winifred Barnes is also provided with a new number, “Goodbye.” With all the new things put into it “Betty” seems likely to continue its success indefinitely.
The London Evening Standard – Saturday 30th October 1915
Gabrielle Ray – The Tatler – Wednesday 6th October 1915
THE RETURN OF ANOTHER POPULAR FAVOURITE
With Gabrielle Ray to Daly’s and Lily Elsie to His Majesty’s
The Tatler – Wednesday 6th October 1915
Gabrielle Ray – The Dollar Princess – The Nottingham Guardian – Monday 26th September 1910
“DOLLAR PRINCESS” ANNIVERSARY
There was a rush for seats at Daly’s Theatre on Saturday night for the first anniversary for the “Dollar Princess” After her success with the “Merry Widow” it seemed difficult for Miss Lily Elsie to score another triumph, but she has done so, and the celebration was marked by a souvenir of signed portraits of all the chief artists presented to everyone in the house. Miss Gabrielle Ray, Miss Elizabeth Firth, Mr Joseph Coyne, Mr. Michelis, and Mr. Berry, all had an enthusiastic welcome. There were some fresh topical numbers for Mr. Berry, including a hit at Mr. Lloyd-George, and the dances and songs are now recognised favourites, but have kept their freshness all the same. Not the least reason for this is the brilliant way in which this musical is produced.
The Nottingham Guardian – Monday 26th September 1910
Gabrielle Ray – The – Merry Widow – The Illustrated Sporting and Dramatic News – Saturday 18th July 1908
“THE MERRY WIDOW” SOUVENIR.
The anniversary performance in London of Lehar’s successful opera was associated at Daly’s Theatre with the issue by Mr. George Edwards of an elaborate souvenir. The artistic brush of Mr. Talbot Hughes will be appreciated in a host of delicately coloured pictures – portraits and incidents – and so also will be the fluent pen of Mr. Adrian Ross in the story of the play, which is told very fully in irregular verse. Mr. Ross is a rhymster of such great facility that he is not in the present instance sometimes as concise as might be. However, he gives humorously and with point a capital idea of the plot, and sustains the interest through quite a number of elegantly printed pages. By the way, we are a little puzzled by one line; we do not quite see how a splice even by Hymen can be furthered by a clove-hitch.
At the supper -party. (From the souvenir of the first anniversary performance in London of The Merry Widow. London: William Heinemann.)
Duet and dance. (From the souvenir of the first anniversary performance in London of The Merry Widow. London: William Heinemann.)
The Illustrated Sporting and Dramatic News – Saturday 18th July
The Merry Widow Souvenir – The Tatler – Wednesday 12th August 1908
Gabrielle Ray – The Dollar Princess – The Gentlewoman – Saturday 2nd October 1909
Plays and Players
“The Dollar Princess” at Daly’s.
We are finding a use once again for the pensive, pining waltz, which clings as fondly to its own main theme as the Daly stage hero clings to the Daly stage heroine in the dancing of it, and whose melody-in-chief, having successfully stood the test of every variation of volume, finally goes off in a thin and languorous whisper to its well-earned rest among the folds of silken purple curtains. There were “Merry Widow” waltzes by the dozen at the Cinderellas of twenty years ago; and now, thanks to the influence of that amazingly popular bit of “tempo di valse,” and to that of its twin sister in the new piece at Daly’s, “The Dollar Princess,” we are going to have them by the score. And it is well that we are, for what is more refreshing to the soul of the young and old and middle-aged alike than “that romantic feeling,” or more calculated to keep the feeling well within call than the languishing strains of what used to be called in early Victorian novels, “the intoxicating waltz”? So good luck to “The Dollar Princess,” if only for its “Dollar Princess” waltz! And, of course, there are heaps and heaps of other attractions, including an original story, which very nearly comes to be told in a coherent fashion, and is only stopped from making the acquaintance of that rare sensation by a desire on the part of Mr. George Edwardes to remain on the very best terms with tradition. It is unwise, when you make a success with a certain kind of production, to follow it on with features liable at any moment to mark a conspicuous departure, and no doubt Mr. Edwardes has not only satisfied himself but his public also in seeing to it that the Daly story “thins off” in the same fashion as the Daly waltz. Alice, the “dollar princess,” lives in a New York palace of vulgar magnificence, and it is the whim of her brother, Harry Q. Conder, a millionaire (a character which gives ample scope to the subtle drolleries of Mr. Joseph Coyne), that both he and she shall be waited upon by hard-up members of the British aristocracy, tempted to America for the purpose by enormous salaries. (This, no doubt, is the author’s delicate little hint at what our “big families” must expect when the Budget is in full swing.) Much fun is made out of the idea, and much love also, the chief manufacturers of the latter commodity being Alice herself (in the fascinating person of Miss Lily Elsie) and Freddy Fairfax, who becomes her secretary, and subsequently her husband; a delightfully melodious young gentleman, whose impersonator is Mr. Robert Michaelis “with songs,” and, be it said, with a by no means bad style of acting. Mr. Michaelis, indeed, is head and shoulders above the usual singing hero of musical comedy, and represents one of the reasons why the new piece at Daly’s must, and will, be seen and heard by everybody. Haunting waltzes, of a somewhat conventional breed, apart, Mr. Leo Fall’s music abounds in fresh and interesting passages, especially where freshness and interest are particularly wanted i.e., towards the close of the entertainment. In short, Mr. Pall improves as he goes along and this, no doubt, is what the whole piece and all who in it are, will do; for, to tell truth some of the performers on the first night did not seem too happily placed. Mr. H. ‘Berry for instance, as the millionaire’s confidential clerk, had very poor material to deal with; that clever actor, Mr. Evelyn Beerbohm, who appears as Harry Q. Conder’s cousin Dick, brings with him upon the stage but the very smallest reason in the world for his presence there at all at any time. Both he and Mr. Berry seem to be utterly wasted in the show, and it is to be hoped that when all who are in authority at Daly’s have recovered from the confusing delirium of triumph, they will find a calm moment in which to think out some scheme for giving suitable employment to the actors I have named. They are much too good goods to be thrown away. Miss Gabrielle Ray looks very pretty all the evening as Dick’s sister, Daisy; Mr. Willie Warde, as Conder’s footman, Sir James McGregor, is airy and agile, and withal quiet in a certain way; Miss Emmy Wehlen, as Olga, a Lion Queen from the music halls, has a fine presence and a really good voice (her dashing rendering of the song “Alaska,” was one of the greatest features of the evening; and Mr. Basil S. Poster, as John, Earl of Quorn (groom to the millionaire), is a singer of considerable refinement and charm. The mounting of the new piece is always superb, and often artistic, and the dresses are dreams from which the awakening is a shock. I do not think I have ever seen, even at Daly’s, such beautiful costumier’s work.
The Gentlewoman – Saturday 2nd October 1909
Emmy Wehlen – The Merry Widow – The Sketch – Wednesday 7th April 1909
THE NEW SONIA: MISS EMMY WEHLEN IN “THE MERRY WIDOW,” AT DALY’S.
Miss Wehlen made her first appearance as Sonia in “The Merry Widow” at Daly’s Theatre on the 29th of last month, and scored an immediate success. This reminds us, by the way, that we were incorrect in saying last week that Miss Wehlen is to understudy Miss Lily Elsie. As a matter of fact, she has been engaged by Mr. George Edwardes to play leading parts, and leading parts only, for two years at least. London will hope that these two years will be considerably extended.
The Sketch – Wednesday 7th April 1909
Gabrielle Ray – Betty – The Illustrated Sporting and Dramatic News – Saturday 12th February 1916
In the absence of Miss Gabrielle Ray from the cast of Betty at Daly’s the other night, the part of Estelle was taken by Miss Marjorie Hume.
The Illustrated Sporting and Dramatic News – Saturday 12th February 1916
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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