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 – Peggy – The Tatler – Wednesday 15th March 1911
The Highway of Fashiom: By Marjorie Hamilton.
The Jupe Culotte.
WERE further testimony required that feminine caprice loves novelty it would be found in the welcome that has been accorded to the jupe culotte or pasha trousers. It must, however, be recollected that although all the world is talking about them few women have had the temerity to wear them in the public thoroughfares. Personally 1 do not believe that they will be popular albeit the majority of the modistes are showing them; as a matter of fact it is really to satisfy the curiosity of their clients as everyone is desirous of obtaining a view of them. Madame Paquin has set her face against them from the outset, contending that they are far from graceful. Naturally the divided skirt of the sportswoman is quite a different affair. Further more, as the back view is far from becoming, in the modified forms a floating panel or very broad ribbon sash is introduced which springs from above the waist-line where evening and reception dresses are concerned.
Across the Footlights.
Many, however, will contend that the foregoing remarks are rank heresy should they have seen the idealised jupes culottes worn by the chorus in Peggy the new play at the Gaiety, in which the culottes are of satin and the over dresses of embroidered silk voile. The colour schemes are quite beyond description; there are to be found the whole gamut of purple, rose, khaki, green, and blue shades, but then it must not be forgotten that these lovely affairs are seen amidst appropriate surroundings. In striking contrast to these extreme creations is the simplicity of the dresses worn by the principals. Miss Gabrielle Ray as Polly Polino is seen in an extremely simple high- waisted shell-pink charmeuse dress, while Miss Enid Leslie as Diamond, the barmaid, wears a pale blue satin dress and a little lace apron finished with a broad sash at the back. Her cap of lace and ribbon is the newest phase of the Quaker bonnet, and should be noted by matinee devotees as they could wear one of a similar character without fear of obstructing the view of those behind them.
The New Colour.
There is a wonderful charm about the new colour, chaloupe red; its elusive shades are seen to the greatest advantage in the dress worn by Miss Phyllis Dare, which is decorated with a double row of buttons from just above the bust-line to the hem of the skirt; at the base of the column of the throat a lace turn-over collar edged with embroidered ninon is introduced, below which is a draped delft-blue bow. The cynosure of all eyes is Miss Olive May’s (Doris Bartle) it will be recalled that she is the daughter of the American multi millionaire hat of white tagal straw built on the lines of a modern fireman’s helmet embellished with two ostrich couteau plumes, one white and the other black, while her dress is of white silk with a pretty draped corsage.
Fascinating Bathing Dresses.
In the second act Miss Phyllis Dare, Miss Gabrielle Rae, and Miss Olive May assume fascinating bathing dresses of pink and white silk well-nigh concealed by bathing wraps; it is indeed a pretty sight to see them reclining in their chaises longues. A few words must be said en passant regarding a lovely gown worn by Miss Phyllis Dare; the fourreau is of the palest blue silk veiled with shell-pink chiffon, the hem bordered with diminutive roses, which is just discernible beneath the rather flat pannier drapery of silver and white striped gauze. Over her shoulders is arranged an attractive white chiffon wraplet edged with a handsome fringe; the last but certainly not the least attractive detail of this toilette is the quaint little head dress of lace and silk reminiscent of the revolutionary bonnet.
Fashionable Millinery.
In spite of the many excursions into the realm of novelty which have recently been essayed by the advanced milliners, it must be confessed that the large hat still pursues the even tenor of its way; naturally it has rivals, but they cannot be regarded as very formidable. Pictured on this page is a quartet of fascinating head-gear epitomising La Mode’s latest commands. As will be observed, the pretty little motor bonnet is reminiscent of those worn during the Revolution, while the modified Napoleon is worn at quite a different angle than was formerly deemed correct. A very pretty model which recently made its debut was built on the lines of a modern fireman’s helmet, the crown encircled with a wreath of tiny ribbon flowers.
The Spell of the Magyar Broken.
At last the spell of the Magyar sleeve is broken, and in the new models the sleeves are put in separately from the corsage, but little fulness is permissible over the shoulders, and there are signs on the horizon that ere many weeks are over the bell sleeve will lead the van. Quite a novel idea is the insertion of a panel beneath the arms of the same material as the trimming of the dress. For instance, a dress of blue serge with a half- tunic of striped blue-and- white foulard with revers of the same on the corsage would have a vandyked panel beneath the arms of foulard, the stripes arranged vertically, the reverse of the tunic. The half- tunic is quite a novel idea and very effective; it springs from the folded sash in front and terminates some 6 in. above the hem, and need not be of a transparent material. It commences about 4 in. from the right hip, is brought over the left hip, and finally loses itself at the back beneath the left fold of the box pleat.
Consistency in the Choice of Jewellery.
There are many women to whom the appropriate comes naturally, and they would never dream of wearing jewellery which would strike a discordant note in the toilette. For instance, they would not don heavy ornaments with the present “blown-together” dresses, but would select designs in which delicate traceries with small drops predominate; they know that it would be false art to do otherwise. With the jewellery in the salons of the Parisian Diamond Company, 143, Regent Street, W., the ideal has been achieved, and the modern vraie elegante will find a veritable embarras de choix in chef d’oeuvres of the jeweller’s art which will directly appeal to her susceptibilities.
The Tatler – Wednesday 15th March 1911
Bessie Ray – The Belle of New York – The Era – Saturday 12th January 1901
AMUSEMENTS IN ABERDEEN
(FROM OUR OWN CORRESPONDENT)
Her Majesty’s Theatre. – Managing-Director, Mr Robert Arthur; Acting -Manager, Mr John Cavanah. – The Belle of New York, which is presented this week, is received with enthusiasm. Mr Arthur Ricketts’s impersonation of Iohabod Bronson stands out prominently, and shows himself a vocalist as well as comedian of the first order. Mr Charles Gervase is highly successful as Barry Bronson, and Mr. P. H. Gardner’s “polite lunatic” is most amusing. Miss Daisy Semon makes charming Violet Gray; Miss Nellie Bowman sings and acts admirably as Fifi Fricot; and Miss Ellaline Gryce has a most suitable part in the handsome Cora Angelique. Miss Bessie Ray (Mamie Claney) is an expert and graceful danseuse, and she and her partner, Mr William Pringle (Blinky Bill), are heartily applauded. Mr Tom Carling is an ideal Doc Snifkins, Mr James R. La Fane acts amusingly as Kenneth Mugg, and Messrs Clayton and Gifford create much hilarity by their portraiture of the peculiar Portuguese.
The Era Saturday – 12th January 1901
Empsie Bowman – The Belle of New York – The Tatler – Wednesday 21st August 1901
FROM “THE TEMPEST” TO “THE BELLE OF NEW YORK.”
The Variety of Miss Empsie Bowman.
How many of those who saw Miss Empsie Bowman playing the part of Ariel in “The Tempest” on the green sward of Regent’s Park with so much grace and such a sensitive appreciation of the value of Elizabethan English can imagine her in such a go-as-you-please olla podrida as “The Belle of New York”? And yet Miss Bowman, acting in both cases under Mr. Ben Greet’s management, is equally at home as Ariel or as Violet Gray, the Salvationist lass, who captivated us all a year or two ago. Mr. Greet has no fewer than ten companies “on the road,” including four with “The Belle of New York.” Of course Miss Bowman is doing no more than the actors in our old stock companies used to do and what actors all over Germany do to this day but in England we have specialised acting to such an extent that people in musical comedy rarely appear in anything else. Miss Bowman, as noted in these pages of July 31, is one of four very clever sisters – Isa, Nellie, Maggie, and Empsie. One of the sisters was a great favourite of Lewis Carroll. The pictures of Miss Bowman as Ariel were taken for this journal by Mr. Alfred Ellis
MISS EMPSIE BOWMAN As “The Belle of New York”
Now is it not as well
To be a trifle swell,
Or is it necessary when you’re moral to be gawky?
And must a girl employ
The modes that come from Troy
Or is she not entitled to be stunningly New Yorkey?
Oh, mayn’t a girl be good and free from guile
And yet be quite a corker in her style?
A LYRIC BY HUGH MORTON, 1899
MISS EMPSIE BOWMAN As “Ariel”
Come unto these yellow sands,
And then take hands:
Courtsied when you have and kissed
The wild waves whist,
Foot it featly, here and there;
And, sweet sprites, the burthen bear
Bur. Hark, hark!
Bow-wow.
The watch-dogs bark,
Bow-wow.
Ari. Hark, hark! I hear
The strain of strutting chanticleer
Cry, Cock-a-diddle-dow.
A LYRIC BY WILLIAM SHAKSPERE, 1611
MISS EMPSIE BOWMAN AS “ARIEL” IN SHAKSPERE’S COMEDY, “THE TEMPEST”
Full fathom five thy father lies;
Of his bones are coral made;
Those are pearls that were his eyes;
Nothing of him that doth fade,
But doth suffer a sea-change
Into something rich and strange.
Sea-nymphs hourly ring his knell
Where the bee sucks, there suck I:
In a cowslip’s bell I lie,
There I couch when owls do cry
On the bat’s back I do fly
After summer merrily.
Merrily, merrily shall I live now
Under the blossom that hangs on the bough
The Tatler – Wednesday 21st August 1901
The Merry Widow Souvenir – The Tatler – Wednesday 24th June 1908
A Souvenir de Luxe.
Although perhaps “The Merry Widow Souvenir” (William Heinemann) belongs as a rule more to the order of things theatrical than literary, yet in this particular case I can hardly suffer it to pass by unnoticed. The whole volume is of such a complete character that it marks altogether a new departure in souvenirs and leads one to hope that this particular example will set a standard for similar productions, doing away for ever with the sparsely – illustrated and meagre booklets sometimes masquerading under the name welcome to theatregoers. Throughout the pages of “The Merry Widow Souvenir” appear reproductions in colour from drawings of scenes and faces familiar to the playgoer with the welcome addition of the lilting lines that go to make up the “book” of the play.
The Tatler – Wednesday 24th June 1908
The Dollar Princess – The Tatler – Wednesday 6th October 1909
“THE DOLLAR PRINCESS” AT DALY’S
“The Merry Widow” –
AS long as The Merry Widow was running the ‘”creature” and I were a divided couple. She considered it the most fascinating piece she had ever seen. The acting, the music, and the whole ensemble were to her perfection. For myself there was hardly a part of it – the famous waltz included – that did not leave me cold and critical. Now happily our differences in appreciation have come to an end. We have both at last discovered a piece for which we possess mutual enthusiasm. Its name is The Dollar Princess and it was performed for the first time in London at Daly’s Theatre last week.
And her Predecessor.
Few first nights are so really enjoyable as those at Daly’s Theatre. Few there are which bring together a smarter or more brilliant audience. The “creature” looked positively dazzling in her best frock with her hair done round in the now fashionable bandage that its devotees fondly believe to be Grecian but which in reality looks like nothing more becoming than a headache plaster. The enthusiasm everybody who was anybody received from the hands of the gods and those in the nethermost pit must have been most gratifying to them if a trifle embarrassing. Miss Marie Tempest came in for a goodly share and so did Gertie Millar, while as if to accentuate the hollowness of public praise Miss Edna May, that favourite of such a short time ago, was allowed to enter and disappear without a murmur of welcome. And if every actor and actress of note got their round of applause as they entered the auditorium how much more enthusiastic was the cheering that greeted the performers on the stage. No queen could have received a greater ovation than did Miss Lily Elsie when she made her first appearance coming down the marble staircase of Mr. Harry Conder’s house in New York, while as for the cheering which greeted Mr. Joseph Coyne it was perfectly delirious. Throwing her decorum to the winds as it were the “creature” clapped with the wildest of them. The consequence is that she retired at night with about two fingers and a black-looking rag to take the place of what were once long white suede gloves at but hush, we are not at Selfridges’s.
Plenty of Go.
The Dollar Princess has had the advantage of being previously produced at Manchester before making its bow to London audiences. This has doubtless eliminated a good deal of that superfluous matter which even now still protrudes itself from time to time. It has also enabled Mr. George Edwardes to elaborate those more delightful portions which as they now stand seem incapable of further improvement. All these things prove of an enormous advantage on a “first night.” It is also the exception where musical comedy is concerned. The first act of The Dollar Princess went as well the other evening as it will probably ever go. There was not a hitch anywhere, and it was played by the company with a swing and a verve that was perfectly enchanting. It is, moreover, the best act of the three, and in it Mr. Robert Michaelis, comparatively unknown to Londoners until then, made a very great success. It will probably enable him to remain in the metropolis for the rest of his theatrical career. He has a good stage presence, a fine baritone voice, sings and acts artistically, and if he will but guard against certain mannerisms and affectations somewhat reminiscent of Hayden Coffin will speedily develop into a really first-class artist.
The Story.
The story of The Dollar Princess is quite original enough and far more amusing than that of the average musical comedy. The first act, for which Mr. George Edwardes has provided a perfectly magnificent setting, takes place in Conder’s house in New York. The owner of it is a multimillionaire with a partiality for engaging impoverished members of the British aristocracy as his menials. Over this household rules Alice (Miss Lily Elsie), Conder’s sister, who it may be remarked does so with the proverbial rod of iron. There is not one of her associates who can come near her in prettiness, but she is as wilful as she is charming. She likes to domineer over these aristocrats which her money has brought so low; thus she is all the more astonished when one arrives who for rudeness can beat her at her own game as it were. Nevertheless, in order to tame him she engages him as her secretary. But the task she sets herself is too difficult for her. After falling violently in love with him as he, by the way, has done with her she makes her brother insist upon him marrying her. But her victim only laughs at the idea. He will have nothing to do with a girl who believes that money and money only will gratify every desire in life.
Tragedy.
This decision of his brings us up to the great denouement at the end of the second act, when Alice, baffled, heart-broken, and in despair, seizes hold of another man, dances wildly with him, and at length falls fainting and sobbing into her brother’s arms. It is a scene some what reminiscent of A Waltz Dream, but it is very effective nevertheless, and offers Miss Lily Elsie a moment of highly emotional acting which positively electrified the house. Indeed, Miss Elsie has never done anything half so good as her Dollar Princess.
The Company.
Of course all ends happily at last as is only right. Alice and her secretary pair off together, as do her brother, Harry Conder, with Olga, the lion-tamer, and her cousin Daisy with the Earl of Quorn. Mr. Joseph Coyne as the afore said brother is as airy, as debonair, and as delightful as ever he was as Prince Danilo, and none ol his countless admirers could wish for more. There is no more fascinating light comedian in London. Miss Emmy Wehlen as the lion-taming lady sings nicely, acts well, but by no manner of means looks the part. Mr. W. H. Berry was very funny indeed as Bulger, a confidential clerk to Conder, and Miss Gabrielle Ray, though she had too much to sing and too little to dance, was dainty. The dresses and scenery are among the loveliest that London has ever seen. The music is very charming and the orchestration quite masterly.
The Tatler – Wednesday 6th October 1909
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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