Gabrielle Ray – The Girls from Kay’s – Truth – Thursday 17th September 1903
I was present the other night at the 300th performance of “The Girl from Kay’s,” and found it extremely amusing. Mr. Willie Edouin’s Hoggenheimer, the Park lane millionaire, is an admirable piece of fooling, and I do not think sufficient justice has been done to Mr. Aubrey Fitzgerald, who, in the part of the millionaire’s satellite, shows himself a most finished comedian. If you want good comedy acting you must, as I said the other day, look for it in musical comedy. There is no field for incompetence in these plays, where any single member of the company must be capable of holding the stage and amusing the audience unaided and alone. It is always pleasant to have a good word to say for a beginner, and if Miss Gabrielle Ray is a beginner, as I think she is, she should go ahead. She has great charm and vivacity, and with a delightfully unconscious brutality she inspires comparisons with our idols of twenty years ago, to whom we are still so amazingly constant, although all that we originally admired them for is no longer there.
Truth – Thursday 17th September 1903
The Girl from Kay’s – The Illustrated Sporting and Dramatic News – Saturday 22nd November 1902
APOLLO THEATRE.
“THE GIRL FROM KAY’S”
THE long talked-of three-act musical play, The Girl from Kay’s, was produced at the Apollo Theatre on Saturday last under the direction of Mr. George Edwardes and in the presence of a crowded audience. Before getting into the theatre it found its way into the Law Courts, its original title having been the cause of offence to an eminent firm not altogether unknown in the world of fashion. It has exercised more wits than any other piece of its class, for, although it is announced as by Owen Hall, it is stated also that Messrs. Adrian Ross, Claude Aveling, Charles Taylor, and Bernard Rolt, with Miss Kitty Ashmead, are responsible for the lyrics, and no fewer than nine composers have had something to do with the music, the list including Messrs. Ivan Caryll, Lionel Monckton, Howard Talbot, Edward Jones, Bernard Rolt, Cecil Cook, Meyer Lutz, and A. D. Cammeyer, with Miss Ashmead again to complete the roll. The reader may be disposed to quote the ancient adage which hath it that “too many cooks spoil the broth,” and possibly the irrepressible joker will reply that there is only one Cook in the company referred to. Still it has to be said that the spoiling, in the opinion of many, had been done, and that considerable revision and cutting and “pulling together” will have to be effected if the piece is to he made thoroughly acceptable. Mr. Owen Hall has, as usual, exhibited a good dual of wit and caustic humour; there is ail abundance of tuneful and catchy music; the scenic artist and the costumier have worked wonders, and the company is composed of clever people, whose popularity has been well won and well deserved; but on the first night of representation the audience seemed to realise the fact that in certain scenes there was a lack of freshness, and that, particularly in the introduction of the Salvation Army business, there had been an attempt to extract good material from a mine that had been worked to the point of exhaustion. And thus it happened at the end that with the cheers of those who were satisfied, or pretended to be, there were mingled sounds that made discord for those behind the curtain.
The girl of the title is Winnie Harborough. She is a saucy little milliner, who arrives on the scene with the new hat for which Norah Chalmers is waiting in order that she may start on her honeymoon trip with young Harry Gordon, who has just made her his wife. It is seen at once that Harry and “the girl from Kay’s” are on a familiar footing, and it is evident, too, that Winnie has attracted the admiring attention of Max Hoggenheimer, the vulgar millionaire, who presently carries her on his motor-car to Flacton on-Sea, where the honeymoon is to be spent, and where are assembled not only Norah’s bridesmaids but some half-dozen of the prettiest of the assistants from the famous millinery establishment that furnished the bride’s going away hat. Trouble arises when Harry Gordon is by his new wife found kissing his old sweetheart, with whom he bolts back to London for a little dinner at the Savoy, where the other characters, including the millionaire and the milliner, of course, put in an appearance to make things as lively as possible. The bridegroom’s action, however, is only the outcome of his anger under reproach, and he quickly comes to the conclusion that, while Winnie is all very well for a flirtation, there is nobody like Norah for a wife. Reconciliation follows easily, and nobody who makes her acquaintance will be surprised to find that the dashing Winnie makes a dash for the man with the millions and carries him away captive.
This millionaire was represented by Mr. Willie Edouin, who may be trusted to work up the part, and to make much of it. The bride and bridegroom were well portrayed by, respectively, Miss Kate Cutler and Mr. Louis Bradfield, and Mr. Aubrey Fitzgerald made much of the role of the noodle secretary, the Hon. Percy Fitzthistle. Mr. E W. Garden, Mr. Fred Emney, and Mr. W. Cheesman also gave useful and diverting support. The audience gave a very hearty welcome to Miss Letty Lind on her reappearance, and all were delighted with her singing and dainty dancing in the character of Ellen, the lady’s-maid. The title part was filled with much animation and ability by Miss Ethel Irving. Those who see The Girl from Kay’s will probably come away from the theatre talking with admiration of “Mrs. Hoggenheimer of Park Lane” – the song so spiritedly sung by Miss Irving in the closing act.
The Illustrated Sporting and Dramatic News – Saturday 22nd November 1902
The Girl from Kay’s
The score cover for The Girl from Kay’s, based on artwork for a poster by the English artist, Dudley Hardy (15 January 1867 – 11 August 1922),
published by Chappell & Co. Ltd., 50 New Bond Street, London, W., printed by Weiners Ltd., poster printers, Wybert Street, Munster Square, London, N.W., 1902.
Gabrielle Ray – The Girl from Kay’s – The Sleaford Gazette – Saturday 26th February 1916
Chatting about her career, Gabrielle Ray, the well-known actress, said that her first chance came when she had been under studying Miss Letty Lind in “The Girl from Kay’s” and Miss Lind, having to take a holiday, Mr. Edwardes said Miss Ray could have her dance, and he would come to the Apollo Theatre to see what she made of it. He sat in the back row of the dress circle and watched her come on. She was a complete contrast to Miss Lind, but she walked on with a show of confidence, and in three minutes received a storm of applause, in which her manager joined.
The Sleaford Gazette and South Lincolnshire Advertiser – Saturday 26th 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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