Gladys Raymond – The Stage – Thursday 26th January 2006
Back Stages
100 years ago
A rather unrehearsed scene took place during the performance of Mr J Bannister Howard’s Aladdin company at the Royal, Hull, on Monday. Mr J Cawdery was rather exhausted during his trap act, and failed to perform his last turn, and the trap was not closed. The consequence was that in the next scene, when Miss Gladys Raymond (sister to Miss Gabrielle Ray) stepped onto the stage, she from the view of the audience. Fortunately Miss Raymond was unhurt.
(Chit Chat, January 25, 1906)
The Stage – Thursday 26 January 2006
Aimee Webster – Hello! Morton – The Stage – Thursday 7th June 1917
LONDON VARIETY STAGE
THE LONDON COLISEUM
“HELLO! MORTON.”
On Monday , June 4, 1917, was produced here a revuette, complied by Douglas Furber, entitled, “Hello! Morton.”
The many admirers of Leon Morton, the droll revue comedian from the Ambassadors, were disappointed at the London Coliseum on Monday afternoon. The piece in which he appears has been compiled by Douglas Furber from certain Harry Grattan-Walter Hackett episodes from the long string of revue successes at Charles B. Cochran’s cosy little theatre, but most of the business, it must be confessed, runs to something like seed in the big auditorium of the St. Martain’s Lane house. Nor have the excerpts themselves been wisely chosen; it would be easy to name several other items from the Charles Cochran revues better suited to the general variety purposes of the French comedian. No doubt better selections will be made in due course, and, in view of other surroundings, a proper disregard exercised in regard to the theatre intimc atmosphere in which most of them have been conceived. The present business shows Morton being used as a war map, a device which has lost its novelty; as the wood-be reciter, with interuptions, of a dramatic poem; and as the Highland soldier in the wordless episode called “A Highland Soldier’s Dream.” In each item he has the assistance of Douglas Furber, James M. Campbell, Sylvia Dancourt, and a company of ladies including Peggy Connor, Dolly Culin, Joan Emney, Mona Fraser, Ann Furrell, Aimee Webster, Kathleen Maude, Irene Russell, Siddons Saharet, Ena Strange, Maisie Walsh, and Evelyn Wells.
George Graves’s sketch, “What a Lady!” has benefited by criticism, the result being a succession of laughs. Myra Kenham now plays the part originated by Winifred Wing. Mabel Mann’s resonant contralto is well suited to the house; and warm hearted applause greets the musical interlude by Julien Henry and company, although its dialogue, which is weak, should be discarded. Bruett, the French poilu, who sings in French and English, is a great favourite for a most acceptable act, his Entente cordiale with a British Tommy being not the least attractive feature of a thoroughly attractive and topical turn. Other items on the programme are by the Five Jovers, in an acrobatic act; Jack Pleasants, the shy comedian: Grock, the inimitable French clown; Coram, an established favourite; and Dainty Doris, a charming comedienne and graceful dancer, who should figure more frequently in the West End bills.
The Stage – Thursday 7th June 1917
Gabrielle Ray – The Salon of Fragrance and Fashion – The Stage – Thursday 23 March 1911
In connection with the All British Shopping Week in London, and in aid of the Prince Francis of Teck Memorial Fund, a three days’ sale of perfumery in a Salon at Hnrrods will be carried out under the direction of Mt Gertrude Robins, beginning on Monday afternoon next. The Salon is entitled by Miss Robins “The Salon of Fragrance and Fair Women,” and assisting her, and presiding at the various stalls, will be Misses Maud Allan, Adrienne Augarde, Lilian Braithwaite, Nell Carter, Dolly Castles, Pauline Chase, Laura Cowie, Cicely Courneidge, Phyllis Dare, Constanoe Drever, Clara Evelyn, Madge Fabian, Audrey Ford, Iris Hoey, Ola. Humphrey, Julia James, Marie Lohr, Doris Lytton, Mabel Love, Olive Mav, Lillah McCarthy, Unity More, Gabrielle Ray, Nina Sevening, Madge Titherage, and Rosalie Toller.
The Stage – Thursday 23rd March 1911
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
Gabrielle Ray – The Stage – Thursday 21st March 1935
Long before the advent of film stars, there were believe it or not fans for flesh and blood people of the theatre. As a youth I collected dozens of picture postcards of Mabel Love, Marie Studholme, Gabrielle Ray, and at one time I possessed more than fifty different photos of Ada Reeve. The girl friends of that age vied with the lads in their collections of Lewis Waller, Maurice Farkoa, Louis Bradfield, Hayden Coffin, and so on, but I doubt if even these very popular people had more fans than the personable sea side Pierrot. Possibly the simple romance of pierrot himself helped a great deal, and there must be many aged and worn autograph hooks tucked away in some cup boards to-day that could testify to the adoration in which the sea side pierrot or entertainer was held. My mind went back to those happy days when George Beachcroft, confounding his years and experience by his youthful appearance came to see me with Mrs. Beachcroft, who as Maude Maye was a Wallis Arthur pianist in my day with that management.
The Stage – Thursday 21st March 1935
Gabrielle Ray – The Palladium – The Stage – Thursday 22nd September 1921
THE VARIETY STAGE
LONDON HALLS.
THE PALLADIUM.
Little Tich, as full of vim and apt by-play as ever, returns to the Palladium this week. On Monday afternoon he was so popular as the bold, romancing cricketer and the Society debutante who gets mixed up in “her” train, that Maidie Scott, who followed him, was considerably delayed. Miss Scott is still singing “Eve’s Progress” to general acceptance. Lee White and Clay Smith are great favourites here for a series of songs, duets, and patter, mostly from the recent Vaudeville revue “Puss! Puss!” Each item is delivered with all the neatness and point one expects form these finished artists, Miss White adding just that hint of quiet sentiment here and there that is always so charming a feature of her work. It was at the Palladium, by the way, that Miss White, with her former partner, played her first London engagement, on which occasion we predicted a great future for her in revue. That prediction, of course, has been fully realised. George Bass is very droll, first as a seeker for information about the income- tax, and afterwards as a musical conductor; while the Arnaut Brothers repeat their fine musical clown act. Other newcomers are Mimi, a very versatile young lady; Jay Laurier, with his funny song about cats, and “Let’s All Have a Jolly Good Cry” and Dippy Diers, assisted by Flo Bennett, in an amusing turn. Gabrielle Ray, assisted by Leslie Barker, and Madeleine Collins, remain over from last week. Mr. Horace Sheldon’s special orchestral selection is Horatio Nicholls’s “Blue Bird.” Mr. C. Foster-Marner is the manager. There were packed audiences on Monday.
The Stage – Thursday 22nd September 1921
Gabrielle Ray – The Stage 28th April 1921
LIVERPOOL.
Hippodrome (M. E. W. James; A. M. J. Daniels). Gabrielle Ray’s act comes with grace and refinement. Attended by a retinue of happy-looking youngsters, and effectively supported by Leslie Barker, her act is a clever, pretty, and compelling one. Jimmy Jewel and company in a sketch, “Idditis,” cause a full measure of laughter. Hope Charteris is a soprano of distinct merit. Wieland juggles with great deftness. The Emilion Brothers are clever gymnasts, and Alex Kendall is entertaining.
The Stage – Thursday 28th April 1921
Gabrielle Ray – Leslie Barker – The Stage – Thursday 29th April 1920
MANCHESTER.
Palace (M.D., Alan Young; S. and A.M., Jesse Hewitt; A. A.M., W. Maclaren). The winning charm and dainty artistry of Gabrielle Ray are pleasingly featured here. She has a clever partner in Leslie Barker. Billy Merson requires no comment; he is just himself, and patrons enjoy the fun thoroughly. Vasco, the mad musician in is popular, and St. Juste and Higgins provide harmony and humour. Among others are the Ahree Daring Reos and Graham and Cullen.
The Stage – Thursday 29th April 1920
Constance Drever – The Merry Widow – The Stage – Thursday 23rd April 1908
BIRMINGHAM
PRINCE OF WALES’S (Lessees, Messers, Rodgers, Limited; General Manager, Mr. J. V. Graham; Acting Manager, Mr . Henry Johnston)
The much heralded “The Merry Widow” makes an appearance this week. Mr. Eric Thorne is quite a persona grata with the most captious of local patrons of musical comedy, and his delightfully eccentric method of humour is happily suited to a nicety in the role of Baron Popoff, while Mr Basil S. Foster is capitally placed as Prince Danilo. Mr. Haigh Jackson is a gallant and melodious Vicomte Camille de Jolidon. Miss Gertrude Lester is a charming exponent of the title role; her beautifully modulated attractive presence and intelligent acting are most advantageously placed. Miss Constance Drever is no less successful as Natalie, while minor parts are in safe hands. The piece is mounted on a lavish scale, and the chorus are a distinctive feature. The famous “Waltz duet” creates quite a furore, notwithstanding the fact that its refrain had, of course, reached us long ago.
The Stage – Thursday 23rd April 1908
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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