Mabel Russell – The Dollar Princess – The Illustrated Sporting and Dramatic News – Saturday 27th August 1910
THEATRICAL ITEMS
Miss Mabel Russell joins the cast of “The Dollar Princess,” at Daly’s this evening, taking up the part of “Daisy”
during the absence of Miss Gabrielle Ray, who goes holiday-making for a couple of weeks.
The Globe – Monday 18th July 1910
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
Gabrielle Ray – The Dollar Princess – The Evening News (London) – Monday 27th September 1909
WOMAN’S WORLD
STAGE DRESSES IN THE “DOLLAR PRINCESS.”
BEAUTIFUL GOWNS WORN BY MISS LILY ELSIE AND MISS EMMY WEHLEN.
Brilliant schemes of colour allied to the fascinating modes of today may be said to be the leading notes struck by the wonderful display of dress in Mr. George Edwardes’s new production, “The Dollar Princess,” at Daly’s Theatre. As usual, Miss Lily Elsie presents a series of the most lovely stage pictures in her character of the Dollar Princess, and the colours and fashion of her gowns accentuate the alluring charm of her own personality.
A Scheme of White, Blue, and Pink.
White, pale blue and pale pink have always been the three hues chosen as the fitting background of a pink and white skin, blue eves and golden brown hair, and it is noticeable that this charming trio appear in some form in every dress worn by Miss Lily Elsie. In the first act, this popular actress presents the striking silhouette demanded by the mode of the moment, and materialised in a straight tunic of soft white silk, slashed open at either side over it narrow scant underdress, and caught together by broad pocket-like plaques of Wedgwood blue silk embroidered in white.
The Piquant Tennis Dress.
Again the note of blue is struck in the wonderful tennis frock worn in the second act. The laveuse tunic of softest blue silk is turned up in the correct manner over an ethereal underdress of white de mouseeline de soir with entredeux of lace posed above draperies of palest pink chiffon, which give a lovely tint to the muslin. Very piquant is the fashion in which the tunic at the back is formed into a very fascinating sash drapery fringed deeply at the end. A corsage bouquet of pink roses and a most fascinating cabriolet hat of shot-blue satin with narrow velvet strings framing the pretty face and a knot of pink roses nestling at the left side still further carry out this colour scheme of pale-blue and pink.
A Gown of Dazzling Glitter.
Brilliantly scintillating is Miss Lily Elsie’s second gown in the same act, composed as it is of an exquisitely lovely underdress of soft lace, festooned with trails of button pink roses and horizontal bands of pale blue ribbon, worn beneath a glittering fringed stole of diamante chiffon and a long tunic of the like fabric. Draped from both arms and suspended partially from the shoulders is a lovely scarf of pink chiffon fringed with crystal and paste drops. The whole affect is one of dazzling beauty, and successfully conveys the sense and atmosphere of a multi-millionaire princess.
Wedgwood Blue Straw and Blue Roses.
The last act reveals Miss Lily Elsie in a long motor coat of white cloth with roll revers of white silk and a piquant bonnet of Wedgwood blue straw trimmed with a knot of pink roses. The coat is worn above a striking dress, showing the modish cuirass bodice of palest pink mousseline de sole, with a flounce of soft silk and revealing beneath the cuirass a broad band of pale-blue silk, which trims the underdress of chiffon. Again a graceful chiffon scarf of palest pink is knotted round the arms, giving another charming note to this pretty frock.
Pervenche Chiffon Velvet.
Very striking, also, are the gowns worn by Miss Emmy Wehlen. The first dress, of pervenche chiffon velvet, with its sash drapery arranged just below the knees and it’s guimpe of pervenche embroidered lace, is worn with a becoming hat of pervenche satin, trimmed with lovely beige-coloured plumes. In the tennis scene Miss Wehlen first appears in a tunic of pale blue chiffon garlanded with pink roses over a soft blue silk tunic, and a large white feather toque. This is exchanged for a most fascinating evening gown of white silk, with the corsage and panel embroidered in coral and gold, and a most effective touch is given by the striking draperies of black and silver tulle caught in from the shoulders to the arms, and matching the black and silver scarf swathed round the coiffure.
A Picturesque Evening Cloak.
Everyone will admire the picturesquely draped olive green velvet cloak trimmed with gold ornaments worn in the same scene by Miss Wehlen above an exquisitely fitting frock of palest grey-green satin charmeuse with a hint of pink. No will Miss Gabrielle Ray’s coat of pink satin be forgotten, worn above a white chiffon petticoat trimmed with medallion shaped ruches encircling Empire baskets of chiffon roses, and accompanied by the most fascinating Revolution bonnet of gold coloured straw trimmed with a tiny wreath of roses for which a net is substituted afterwards.
The Evening News (London) – Monday 27th September 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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