Gabrielle Ray – Little Red Riding Hood – Middlesex & Surrey Express – Friday 2nd January 1903
PANTOMIME AT HAMMERSMITH.
The pantomime season is now in full swing and the various fairy tales are being presented at most of the London and out-lying theatres. One need not travel further than the Lyric Theatre, Hammersmith, to see the old favourite children’s story of “Red Riding Hood” illustrated with mirth and merriment. The joint authors are Messers Brian Daly and J. M. East, who have written six previous pantomimes for this theatre. The music is by Mr. Henry W. May and the scenic effects by Mr. Herbert Wallis. The plot shows that Little Red Riding Hood (the handsome foster daughter of Dame Hood) is beloved of her companions, Bo-Peep, Boy Blue and all the children of the village. Prince Sylvanus, ruler of Merryville, is in love with Red Riding Hood, as also is Baron Lionel de Lupus, a bold bad old man, who changes to a wolf upon the slightest provocation, and tries his utmost to frighten and entice away the pretty Red Riding Hood, but was eventually found in his wolf’s disguise, as Prince Sylvanus and the villagers appear on the scene and save her from the wicked baron. The scene of Dame Hood’s village school (licensed for larks) is a very amusing one, and introduces the celebrated Olive Trio in their impersonation of dolls. The old dame, with her many peculiar questions to her scholars, and the various punishments they have to undergo for inefficiency in answering cause roars of laughter. Rex Fox, the celebrated wire walker, who appears in the scene at the festivities at the king’s palace, is an exceedingly clever artiste, and his daring performance on the wire on roller skates and stilts elicits well deserved applause. The comic element is in the hands of Mr. Harry Buss (Dame Hood) and Mr. Arthur Watts (Simple Simon), whose sayings and comicalities provoke great hilarity. The character of Rest Riding Hood is ably represented by Miss Gabrielle Ray, a juvenile actress of considerable talent, whose singing and dancing is greatly admired. Miss Gracie Whiteford, as Prince Sylvanus, played with a briskness which is well suited to the character, and in her song, “Sweet Susanne,” she was twice recalled. The production throughout is admirably mounted, as there are eleven scenes, all of which are tastefully designed, especially the transformation scene, “The four elements.” Lively music, pretty costumes, popular songs, and good dancing make the Lyric pantomime one of the successes of the season.
Middlesex & Surrey Express – Friday 2nd January 1903
Gabrielle Ray – Little Red Riding Hood – Daily Telegraph & Courier (London) – Friday 26th December 1902
LYRIC, HAMMERSMITH.
If the residents of Hammersmith are at all dissatisfied with the Yuletide entertainment provided for them they must be extremely difficult to please. Mr. Acton Phillips, who has received the warm congratulations of his theatrical friends upon attaining the mayoral dignity in the riverside borough, presented his twelfth annual pantomime to a large and enthusiastic audience at the Lyric Opera House on Christmas Eve. It was an artistic production, full of glow and colour, and promises to be as bright and exhilarating as any of its predecessors. Upon Red Riding Hood the Broadway management rely for inspiration on the present occasion, and Mr. Brian Daly and Mr. John M. East, experienced hands at this class of work, have furnished a “book” which deftly mingles the traditional story with topics of the moment, and supplies numberless stage pictures of considerable effectiveness and beauty. The topical allusions were apt and up-to-date, and the local hits in particular were instantly caught up by the audience, evoking the heartiest merriment. Imperial politics were, of course, touched upon, and the spectators cheered to the echo the references to Mr. Chamberlain and his mission to South Africa, as well as to the plight of our gallant Reservists. When one the characters exclaimed, “That’s the way we treat our heroes!” the applause demonstrated where the sympathy of the audience lay. The subject of Red Riding Hood lends itself to generous stage treatment, but, besides being tastefully mounted, the pantomime was capitally interpreted by a band of capable artists. Miss Gabrielle Ray proved a dainty and sprightly heroine, and at once captivated all hearts by her singing and dancing. Her honours, however, were fairly by Mr Gracie Whiteford, who brilliantly sustained the part of Prince Sylvanus. To say nothing of a comedy presence, Miss Whiteford possesses a charming voice, and knows how to use it; and it may be justly declared that between them these young ladies did much to secure unqualified excess for the Lyric pantomime. Miss Edwards and Miss Lucia Edwards were acceptable as Bo-Peep and Boy Blue. Among the mole characters the palm was carried off by Mr. Harry Buss. Dame Hood is a part which requires judicious handling, and the acting of her impersonator was humorous and in good taste throughout. Mr. John Gourlay ran him close with an admirable portrayal of the Baron de Lupus, “a bold, bad man, who changes to a wolf on the slightest provocation.” Messers Baroux and Bion were knockabouts who created endless amusement by their antics, while the facial contortions of Mr. Arthur Watts as Simple Simon were something to be remembered. Among the “selected spirits” who did real service were Miss Vera Schlesinger as the Fairy of Progress, and Mr. George Traverner as the Demon. A doll dance by the Olive Trio was undoubtedly one of the features of the evening, but it was quite equalled, if not actually surpassed, by a Dense Japonaise in the Bat Masque at the Royal Palace to celebrate the union of the hero and heroine. This, in accordance with pantomime law, led the way to the transformation scene, entitled “The Four Elements – Earth. Air, Fire, and Water,” which deservedly won the admiration of the house. “Red Riding Hood,” in fact, starts upon her journey at Hammersmith with the fairest hopes.
Daily Telegraph & Courier (London) – Friday 26th December 1902
Gladys Ray – Aladdin – The Era – Saturday 22nd December 1906
Gladys Ray – Aladdin – The Sporting Life – Tuesday 25th December 1906
Gladys Ray – Aladdin – The Sporting Life – Tuesday 25th December 1906
THE THEATRES.
CRYSTAL PALACE PANTOMIME & CIRCUS
One could hardly realise that he was witnessing the first performance of the pantomime at the Crystal Palace yesterday, so well did those engaged fall into their various parts. This year “Aladdin” has been chosen by Mr J. Bannister Howard as the subject, and with the assistance of Mr Fred Bowyer to furnish the book and lyrics, a very entertaining piece is the result. The story runs upon the old, old lines which have been so familiar for years.
From the first scene – there are a dozen in all – to the last, all are exceedingly pretty. Many clever changes take place, all being smartly managed. Of course, the cave is about the best, though the Throne Room in the Emperor’s Palace runs it close for effect. Quite up-to-date too are some of the ideas introduced, for in one scene the career of a motor car is shown by means of the cinematograph.
To Miss Lillie Lassah is entrusted the port of Aladdin and as she is possessed of a fine voice and the ability to dance, one could hardly wish for a better interpreter of the part. As the Princess, another clever principal is found in Miss Lily Gullick, who also sings and dances well. The comedians evidently intend that the piece shall not lack in fun. As Abanazar, Mr Arthur Poole has a fine part, in which he brings out all the points possible, his by-play and gag being especially good. Mr A. E. Passmore, in the character of Widow Twankey, revels in his part, and two splendid artists of the knock-about order are the Brothers Onda. Their performance on the horizontal bar stamps them gymnasts of no mean order. Other parts are in the hands of Miss Nellie Barnwell (Pekoe), Miss Gladys Ray (Petti-Sing), Mr Prank Weir (Wishee-Washee), Mr E. Oxlee (Emperor), while several excellent glees are rendered by the XL Quartette.
Sporting Life – Tuesday 25th December 1906
Gladys Ray – Robinson Crusoe – The Era – Saturday 13th February 1897
AMUSEMENTS IN HASTINGS.
(FROM OUR OWN CORRESPONDENT).
GAIETY THEATRE. — Managing Director, Mr George Gaze. — Mr J. B. Mulholland’s successful pantomime Robinson Crusoe was brought here on Monday, and attracted a well-filled house. Miss Chummie La Mara sustained the title-role with marked ability, and secured rounds of applause for her songs. Mliss Eva Hamblyn as Polly Perkins acted prettily and sang pleasingly, though suffering from a slight hoarseness. Mr Charles Gardener was deservedly applauded for his clever business as Dame Crusoe. Mr Gus Wheatman gave a grotesquely humorous performance as Captain Spanker, whose mate, Jack Mainbrace, had a sprightly exponent in Miss Rose Hamilton. Mr George Fisk played with much energy as the Cannibal King. His daughter, the Princess, was pleasingly acted by Miss Lillie Comyns. Mr Joe Ellis was a good Man Friday. The Grovini Troupe are clever acrobats. Mr H. Mansfield as Vanderdecken was well appreciated for his singing. Miss Lily Twyman was a pleasing Fairy. Some good dancing was exhibited by the Misses Nita St. George, Lavurnan, Lily Piercy, Gladys Ray, Claire Tenson, Flo White, and Sisters Wilkinson. A strong and well-balanced chorus sang effectively. The scenery is very pretty, and the dresses and appointments harmonise well.
The Era – Saturday 13 February 1897
Gladys Raymond – Aladdin – South London Chronicle – Friday 19 October 1906
CRYSTAL PALACE
PANTOMIME
It is welcome news to learn that Mr. Bannister Howard intends to revive old-fashioned pantomime at the Crystal Palace Theatre. That style of entertainment which has been called pantomime during the past few years has become rather boring, and has not been particularly amusing, either to grown-up people or children. Any effort, therefore, to return to the rollicking performances of bygone days deserves to be supported, and no doubt Mr. Howard’s enterprise will be crowned with success. The subject of the pantomime is the old favourite story of “Aladdin,” and in the hands of so experienced a pantomime writer as Mr. Fred Bowyer, great things may be expected. No expense is to be spared, and an excellent company has been secured. Miss Lillie Lassah will impersonate Aladdin; Miss Lillie Gallick; the Princess; Mr. Arthur Pool, Abanazar; Mr. A. E. Passmore, Widow Twankey; the Ongar Brothers, the Policemen and Speciality turn; Miss Nellie Barnwell; Second Boy; Miss Gladys Ray (a sister of Miss Gabrielle Ray, who was originally brought out by Mr. Howard), Second Girl; Miss Josephine Sullivan, a Fairy; and Mr. J. D. Cawdery, Demon and Clown, who will also work the traps. He was at one time with Conquest, and is one of the oldest trapworkers left. The Harlequinade and Shadow Pantomime will be a strong feature of the entertainment. The Pantomime will be produced by Mr. C. Lake, and Mr. Joseph Sainton will compose and arrange the music. Mr. W. E. Sharpe will still continue to actively manage the front of the theatre.
South London Chronicle – Friday 19th October 1906
Note; The review of Aladdin shows Miss Ray’s sister Gladys Raymond referred to as Gladys Ray rather than Gladys Raymond, I’m not sure whether this is a misprint or whether she performed under this name as well
Bessie Ray – Aladdin – The Daily Telegraph & Courier (London) – Monday 26th December 1898
DALSTON.
“ALADDIN.”
In point of age the new and exceedingly comfortable theatre at Dalston is a very baby among metropolitan playhouses, for it is only some six months old. Hitherto it has been, so to speak, in leading strings, for its plays have been derived mainly from the successes of the leading London theatres. But now it has begun to run alone, and the new and original pantomime “Aladdin; or, the Naughty Young Scamp who ran off with the Lamp,” it made on Christmas Eve its first step. And firm and promising first step it was. The piece is written by Mr. Stanley Rogers, but as acted the author would probably fail recognise his own handiwork. It is worth while to get the printed play in order to secure a sort of supplementary entertainment, for there is little in the book that is heard on the stage and little that is done on the stage which is to be found in the book. Yet the performance is none the worse for that. It is a go-as-you-please affair, in which every actor seems to do what he likes, and, it must be admitted, does it well. There is very little Aladdin pure and simple in the pantomime. If analysed in chemical fashion the piece would be found to be compounded of many parts of variety show, comic business, and music-hall song and dance, with just a “trace” of the Hero of the Lamp. But it is capital entertainment nevertheless. Its predominating element is fun – good, hearty, boisterous, knock-about fun, that provokes shouts, peals, screams, and yells of laughter from first to last. There is hardly a moment when the audience is not exploding and roaring with merriment, excited by some delicious piece of nonsense and absurdity. Another strong element of the pantomime is its music. Of this there is plenty—any quantity of rollicking comic songs and melodious ballads -while the orchestra, under the baton Mr. E. T. de Bansie, does its work most excellently. Yet another feature of the play is its exquisite and dainty dancing, and when to all this are added well-painted and scenery and superb and tasteful dresses and general good all-round performance by the clever actors and actresses engaged, it will not be wondered that Saturday night Messrs Milton Bode and Edward Compton scored a veritable triumph.
It were utterly vain go through the pantomime scene by scene and narrate its plot. Everybody is familiar with the storey of “Aladdin,” and of this we get just a glimpse here and there. The hero, the son of a poor widow, is a very naughty boy, who goes off with a sham uncle to discover a treasure in a cave by means of a magic lamp, finds it and keeps it, frustrating the machinations of the false uncle, and, becoming rich, is betrothed to a fair princess, with whom he is in love. That is all. The poor little story crops up, as we have said, now and then, but as soon as it shows its tiny head it is drowned in music-hall melody, crushed by the feet of pretty dancing girls, or knocked all to pieces by irresponsible clowns. As a matter of fact, there was no time for the harlequinade proper on the first nigh. But what of that? The pantomime was practically one harlequinade from beginning end. And that is just what a pantomime ought to be. They may do it in a more refined manner at the West-end, but in North London something more spicy and racy is wanted. And Dalston gets it with a vengeance. Aladdin in the comedy persona of Miss Marie Elsie is a most charming “principle boy” whose acting is better than her singing, although this is marked by much point and expression; the youth’s beloved Princess Badroulbadour is impersonated by Miss Marion Ayling, who has a really good voice, and looks well in her lovely costumes; Abanazar, the “crafty magician,” played by Mr. Edwin Brett, is very funny, and so are Ski Hi, the Emperor of China, (Mr. A.J. W. Henson); So Long, his Grand Vizier. (Mr. A. E. Godfrey); Wishee Washee, the bath man (Mr Ronaldo Martin), and the two grotesque policemen. Bo Bi and Bo Ko (Masers. Walton and Lester), while Electra, the genie the lamp (Miss Florence Landergan); Pekoe,another lady boy (Miss Nellie Harding); and the maids of honour. So Shi and Petti Sing (Misses Mavis Hope and Bessie Ray) are all very pretty and sweet. But the presiding and pervading spirit of the whole performance is the robust, uproarious, laughter-moving Widow Twankay of Mr. Ted Young, an actor of the Herbert Campbell school, who acts and sings with a vigour that could hardly be surpassed, who has a fine resonant voice that enables every word his many funny songs to be heard, and has talent for stage gags and business that almost amounts to genius. All do their work well, butt Mr. Ted Young certainly does mow then anyone else to “keep the thing going.”
Then there are some special people in the pantomime whose personality and performance have nothing what ever to do with the story of “Aladdin.” First among these we should name Mr. Edouard Espinosa, an agile fantastic dancer, many of whose pas are very novel and dexterous. Then there is the Great Little Levite and his troupe, who introduce their side-splitting scene with sham horses in tandem, which went with one roar; and among the moat charming features the whole mow were Mr. John Tiller’s dancers – his Ruby Quartette and Jewel Ballet, all pretty girls with lovely forms, step, and attired in the most enchanting costumes. The Quartette were special favourites of the evening, and had three turns, each time different set artistic dresses.
The whole performance went extremely well, and, for a first pantomime new theatre, its success was remarkable. There was, to all appearance, not a single hitch. If anything went wrong “behind” it was unobserved front. There was, have said, time for the harlequinade, the transformation scene was also omitted; but no doubt, the public will have on Boxing Day all they have been promised, and future audiences will enjoy in its completeness, and with added finish, a thoroughly good, picturesque, tuneful, and, above all, funny pantomime.
The Daily Telegraph & Courier (London) – Monday 26th December 1898
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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