Emmy Wehlen – The Merry Widow – The Sketch – Wednesday 31st March 1909
MADE A MERRY WIDOW BY THE “FLU.”: MISS EMMY WEHLEN, WHO IS PLAYING SONIA AT DALY’S.
When last we published some portraits of Miss Wehlen it was uncertain when Londoners would see her. The uncertainty no longer exists, for the young actress is playing Sonia, Miss Lily Elsie’s part, in “The Merry Widow,” at Daly’s. Miss Elsie is out of the cast for a fortnight, that she may have opportunity to recover from a sharp attack of “flu,” and Miss Wehlen is appearing in her stead for that time. On Miss Elsie’s return Miss Wehlen will understudy her. The new Merry Widow was born at Mannheim, has acted with much success in musical plays at Munich and other places on the Continent, and made her greatest “hit” as a comedienne in “Mitternachtsmadchen.” In five months she has learned to speak English well.
The Sketch – Wednesday 31st March 1909
Aimee Webster – £150 – The Sketch Wednesday 16th May 1917
A JOCK ON LEAVE: AN “ALLEGORICAL PANTOMIME.”
ALL AMONG THE FLAPPERS AND THE FISHER – GIRLS AND THE NURSES, AND DREAMING OF HIS HIGHLAND LASSIE: M. LEON MORTON AS THE SCOTCH SOLDIER, IN “£150,” AT THE AMBASSADORS’.
SHOPS IN AND AFTER WAR: PRESENTS AND FUTURES.
1. SOME SWEET THINGS IN LINGERIE SOLD IN BOXES MADE FOR OTHER SWEET THINGS: WAR ECONOMY IN PRESENTS EXEMPLIFIED IN “£150,” AT THE AMBASSADORS’.
2. WHAT THE BIG STORES WILL BE LIKE AFTER THE WAR: A SHOP WALKER (MR. MURRI MONCR1EFF), A CUSTOMER, AND A COMMISSIONAIRE (M. LEON MORTON) IMBUED WITH THE MILITARY SPIRIT.
The new “war economy revue,” at the Ambassadors’, “£150,” was so named because that was the limit set by Mr. Cochran to the cost of production. In a slip inserted in the programme on the first night, he facetiously apologised for having exceeded the estimate by £4 15s.! The acting of M. Leon Morton is the chief feature of the new show; indeed, one critic, Mr. Herbert Farjeon, goes so far as to say that “any revue with Morton in it is better than any revue without Morton.” We illustrate here three of the scenes. On the left-hand page he is seen as a Scottish soldier– a “Jock,” in the popular phrase – “journeying from the trenches to his home among the heather” (in the words of the programme) in a scene curiously called “an Allegorical Pantomime.” The first photograph shows him among the Flappers (Misses Elsie Gregory, Kathleen Maude, Joan Emney, and Elaine Wells) the second, with the Fisher Girls (Misses Ena Strange, Siddons Saharet, Dolly Cullin, and Maisie Walsh); the fifth, among the Nurses (Misses Irene Russell, Mona Fraser, Ann Furrell, and Aimee Webster). In the fourth photograph (lower left) are, from left to right M. Morton, Mile. Madeleine Choiseulle as His Highland Lassie, and Mr. J. M. Campbell as An Elder. It represents the soldier’s dream of finding his girl as another man’s bride at the kirk door. On the right-hand page the upper photograph shows the scene entitled “The Temptations of the Modern Sweet-Shop.” Here are sold ostensible chocolate-boxes which gallant swains may buy for their lady friends. In reality they contain articles of lingerie. The scene called “A Dream of the Past and the Future, showing the interior of a great shop” is in two parts, before and after the war. The lower photograph shows the second part, when the military spirit is supreme. The staff are all retired Colonels and so on, and the Commissionaire, covered with medals, shoots off a button with the aid of his revolver.
The Sketch – Wednesday May 16th 1917
Barbara Deane – The Sketch – Wednesday 29th January 1908
THE- ALDWYCH THEATRE: MATRIMONIAL OFFICE.
A TRIO OF FAIR BRIDES FROM “THE GAY GORDONS”
COMPANY.
1. MISS JENNIE BATEMAN, WHO HAS MARRIED MR. MERVYN DENE. 2. MISS MADGE HODGKINSON, WHO HAS MARRIED MR. PAUL GRISEWOOD.
3. MISS BARBARA DEANE, WHO HAS MARRIED MR. BASIL LODER, OF THE COLDSTREAM GUARDS.
There has been quite an epidemic of marriages amongst members of “The Gay Gordons” company, and it is evident that the Aldwych Theatre is an excellent matrimonial office. Mr. Charles Frohman is so interested, indeed, that he has promised to make a handsome wedding gift to the next bride in the same company, and to the next and the next, so long as there are any marriageable girls left. As we have noted, Miss Madge Hodgkinson was married to Paul Grisewood, who has taken her to America for a honeymoon trip. Miss Jennie Bateman’s husband, Mr. Mervyn Dene, plays the Marquess of Dalesbury in “The Gay Gordons.” Mr. Basil Loder, who has married Miss Barbara Deane, is a lieutenant in the Coldstream Guards. Mr. Loder’s portrait is given on another gage in this issue.
The Sketch – Wednesday 29th January 1908
Eric Loder – The Sketch – Wednesday 10th March 1920
A Good Win.
The Bath Club Squash Rackets Handicap, in which the Prince of Wales reached the final, is really an important contest from the athletic point of view, for the members of the “Bath” play squash pretty assiduously, and many of them are first class performers in good practice. The Prince had to fight his way all through to reach the final against Captain Eric Loder, who has been described as the “fittest man in town.” He is so keen on athletic sport that when in London he has a game of squash practically every day, and there is no game more certain to keep one fit. The Prince, by the way, did not have a big handicap, and there were plenty of other competitors who got more than he did.
The Sketch – Wednesday 10th March 1920
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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