The Pyjama Drama – The Sketch – Wednesday 16th January 1907
THE PYJAMA DRAMA.
THE forthcoming transference of “Toddles” to the Playhouse may revive the remarks that have been made in connection with the now-famous suit of pyjamas worn by Mr. Maude in the piece. It was, no doubt, the fact that pyjamas are usually worn in the seclusion of one’s own room which furnished the occasion for the comments, for there is certainly no more indelicacy in them than there is in a flannel outfit for cricket or tennis.
No one would ever dream of accusing Mr. Barrie of writing a line or introducing a suggestion which could possibly bring the blush of shame to the cheek of innocence, or offend the ear or eye of even the most susceptible; yet, on the stage of the Duke of York’s Theatre; for three Christmastides in succession he has presented the spectacle of the Pyjama Drama, for who can forget the little Darlings in their nighties and their pyjamas all comfortably tucked up in their beds before the advent of Peter Pan and Tinker Bell brought them up all wide awake to have such a delightful time?
Who, too, can possibly forget beautiful Miss Pauline Chase, now promoted to be Peter, in the pyjamas of her Pillow-case Dance, and all the other benightgowned children in the second act of the play? It was, by the way, a pair of pyjamas which first brought Miss Chase into prominence. It was in America, in a musical comedy called “The Liberty Belle,” that she appeared as the Pink Pyjama Girl, among a bevy of pretty girls all wearing fluffy white nighties, and they were the sensation of the play, and practically made its reputation, so that it was acted to crowded houses for a long time. The Pink Pyjama Girl even inspired a song sung in that costume by Miss Gabrielle Ray at the Gaiety.
At the Apollo Theatre one of the most applauded numbers in “The Dairymaids” was a song to some little girls in their nightgowns just before they toddled off to bed. Children, however, can do many things and can appear in costumes which fail to draw the least remonstrance from the most strait-laced, furnishing another proof of the famous proverb, that “to the pure all things are pure,” for no one could by any possibility make any suggestion of impropriety in the case of a blue-eyed, golden-haired little mortal in a dainty befrilled and beribboned garment, reaching from her throat to her toes or to a dark-haired, dark-eyed child.
The Pyjama Drama is, however, only a “modern instance” in a subject which goes far back in the history of the British theatre, in just the same way as our coat and trousers have developed from the satin coat and breeches of the Powder period, or from the trunks and tunics of the great Elizabethan age. Who first introduced pyjamas or their equivalent nobody could probably say. Certainly, Thomas Heywood, whose “Woman Killed with Kindness,” one of the first domestic dramas of the stage, as we understand the term, did so. The admirers of Shakspere are constantly declaring that he is the most modern of all dramatists. He was certainly one of the writers of the Pyjama Drama, and bolder than any modern playwright, Bernard Shaw not excepted; he did not introduce the garment of the bedroom into his comedies, but “went the limit” and actually put it into the tragedies. When, after the murder of Duncan, Lady Macbeth heard the knocking at the gate which proclaimed the arrival of Macduff, did she not bid her husband to “get on his nightgown”? And perhaps when one of the many proposed Macbeths produces the play this season he may bring on the Thane of Cawdor in that garment worn under a dressing-gown. Lady Macbeth herself certainly wore her nightgown when in her sleep-walking scene she “gave herself away” so terribly to the Doctor and the Gentlewoman. If exception is taken to the fact that in both cases a dressing-gown is worn, no such plea can be urged in the case of “Romeo and Juliet,” “ Cymbeline,” or in the last act of “Othello,” when Desdemona, like Imogen, is discovered in bed.
The realistic actress always wears a regulation nightdress with angel-sleeves to make it look old-fashioned, even though she does not, as one famous Desdemona did, go to bed in high-heeled white satin shoes.
One of the great test-parts of the French drama which has always exercised considerable fascination for our own actresses is the name-part in “Camille,” the last act of which discovers the heroine in bed. An American actress by no means unknown in London created a great effect when she played the part by wearing an ordinary nightdress and going regularly to bed before the curtain rose, so that when she got out of bed it was seen that she had no stockings on, and she realised the opening lines of Sir John Suckling’s “Ballad upon a Wedding,” changing, of course, the familiar petticoat of the text, beneath which her feet, “like little mice, stole in and out,” to suit the exigencies of the occasion. When Mrs. Patrick Campbell produced “Beyond Human Power,” it will be remembered that she had to play practically the whole of one act in bed in a nightdress.
Again, in “Mrs. Ponderbury’s Past,” produced a few years ago at the Avenue, did not Miss Lottie Venue wear a robe de nuit, as did many of the actresses in “A Night Out,” at the Vaudeville?
The extraordinary value which may lurk within a fold of bed-clothes was, perhaps, never more vividly demonstrated than in the case of “The Worst Woman in London,” when it was produced at the Adelphi. In that play the appearance of a gentleman in a long white garment reaching down to his toes evoked laughter loud and long, to be repeated at frequent intervals as he moved about the bedroom, which the scene represented, until he finally got into bed. Even the fact that in going to bed he was going to be murdered could not restrain the feelings of the audience, and that scene ‘alone probably did not a little to secure the run of the play for many weeks, and to prove that there is money in the Pyjama Drama.
The Sketch – Wednesday 16th January 1907
Pauline Chase – The Bystander – 1906
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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