Leah Leichner (1890 – 1957) & Pollard’s last tour of India

Above: 13 year old Leah Leichner (centre) and unidentified girls, and a US soldier, while on the 1903-4 Pollard tour. This photo is enlarged from a group photo taken in Manila in 1903, held in the Australian Performing Arts Collection, Arts Centre Melbourne.

The 5 second version
Born in Melbourne Australia, Leah Leichner became a leading actor with Pollard’s Lilliputian Opera Company, a juvenile troupe that performed light opera through South East Asia, India and North America in the first decade of the twentieth century. Her story isn’t simply one of a child performer, but is also the tale of an adventurous and unusually confident woman for her era, who determined her own destiny, and overcame significant obstacles. And she appears to be the only Pollards performer to return and make her home in Asia.

She is also significant because in March 1910, reports of the mistreatment of children (and in particular, her) reached Australia, and legislation banning child performers being taken out of the country followed soon after. Thirty years later, Leah was serving as a nurse when Japanese forces overran Hong Kong in late 1941 and she endured more than three and a half years of internment. She died there in 1957.

Her step-sister Belle Leichner also appeared on stage in Australia, India and China.

Left: Leah Constance Johnstone in 1915, aged 25. ^[1]Enlargement of photo from Johnstone divorce papers. Museum of History, NSW, Formerly NSW Archives

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Leah’s birth and childhood

Leah Caroline Cohen was born on 9 July 1890 in the inner Melbourne suburb of Fitzroy, and her profile closely resembles that of other children enlisted in Pollard’s Lilliputian Opera Company.^[2]Victoria, Births Deaths & Marriages Leah Cohen birth certificate, 9 July 1900, 22895 / 1890 Her mother was Minnie nee Grant, from a rural family in Mount Gambier, South Australia, while her father was English-born tailor Samuel Harris Cohen.

Only a few years after her birth her parents separated, and in December 1900 Minnie married Isaac Leichner, a Rumanian born fruiterer based at Melbourne’s Queen Victoria Market. The marriage was performed by the well known and slightly unorthodox Reverend Albert Abbott,^[3]See Gerry Brody (24 May 2021) Shonky celebrants and wonky marriages ….. Holt’s matrimonial agency and the Free Christian Church at the State Library of Victoria Blog at the Free Christian Church in Queen Street, with James and Annie Holt from Holt’s Matrimonial Agency as witnesses.^[4]Victoria, Births Deaths & Marriages Leichner and Grant Marriage certificate, 22 December 1900, 8251 / 1900 Together they settled down in nearby Little Lonsdale Street and Leah took her step-father’s surname for her own.

A few weeks after the marriage a daughter, Bella, was born.^[5]Victoria, Births Deaths & Marriages Bella Leichner birth certificate, 9 January 1901, 5176 / 1901 In time, Bella or Belle, would also end up on the stage.

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Of Leah’s childhood we know little. Like most Australian children she learned to read and write, but at the beginning of the twentieth century, secondary education was only available for those who could afford a private education – a very small portion of the population.^[6]Robert Murray (2020) The Confident Years, Australia in the 1920s. P16. Australian Scholarly Publishing For Leah, and the other working class children who joined Pollard’s Lilliputian Opera Company, fame, fortune and the chance to travel must have made life as a performer a very attractive alternative to inner Melbourne factory work or an apprenticeship.

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Pollard’s Lilliputian Opera Company

It is worth pausing and looking past the nationalist sentiment we might attach to these pioneer Australian performers today, to recognize that this was really a form of genteel child exploitation. Talented they may have been, but almost all of the Pollard’s child performers were underage and some were even under 10 when they travelled overseas for two years or more. Signing their child’s guardianship to Charles Pollard and Nellie Chester, or in 1909 to Arthur Pollard, meant parents received payment for their child’s performances, sometimes in advance.

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Not everyone approved of the Pollard’s performance model. Fellow performer Irene Goulding recalled that her teacher at Bell Street Primary School in Fitzroy thought it was awful that children would go overseas on a performance tour.^[8]Irene Smith nee Goulding interview. Interviewed by Sally Dawes in 1985. Australian Performing Arts Collection, Melbourne But her father Frank Goulding, a widowed ex-performer and now bootmaker, signed Irene up with Pollards, together with her brothers Alf and Frank.^[9]Even after Frank’s death from smallpox while on tour in Calcutta in 1897, Alf and Irene Goulding kept performing with Pollards

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Leah on tour, 1903-1904, 1904-1907

In late 1902, at the age of 12, Leah auditioned for a Pollard’s tour, managed by Nellie Chester and her brother Charles Pollard. Shipping manifests show she joined the troupe and in January 1903 departed on SS Changsa,, bound for the “far east” – Manila, Hong Kong and Shanghai and then on to North America. She was in company with other familiar names, including Daphne Pollard (Trott) and her sister Ivy Trott, Teddie McNamara, Alf Goulding and his sister Irene Loftus (Goulding), Willie Thomas and Irene Finlay. They were back in Australia 15 months later, in April 1904.

Three months after their return, in July 1904, Leah joined a second Pollard’s Lilliputian Opera Company tour, first travelling to Queensland, where they tested out their repertoire of musical comedies. In September 1904 the company departed Australia to again travel through ports in South East Asia and China before arriving in the USA in March 1905. This group of child performers stayed away from Australia for an extraordinary two and a half years – not returning until late February, 1907. Leah can be traced through some of the positive publicity given by the Canadian and US press, but the Pollards also made sure particular performers were profiled, most notably Daphne Pollard.

The repertoire included such popular musicals as A Runaway Girl, The Belle of New York, The Lady Slavey and HMS Pinafore, usually regularly rotated during a week of performances.

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Today we might wonder about the impact of this enterprise on a young person, so far from family and for so long, in these formative years. It should also be noted that the Pollards performers were playing adult roles on stage, a fact that even some contemporary commentators found confronting, given the adult content of the musicals they performed. One correspondent for the Hong Kong Daily Press on December 27, 1907 reminded readers “Pollard’s Lilliputians are children, but their performance is anything but childish… That shrimp of a maiden …who portrays a woman many times divorced, how are we to regard her?” And as Gillian Arrighi notes in her 2017 article, “the authors of these musical comedies never intended them for performance by children.”^[11]Gillian Arrighi, The Controversial “Case of the Opera Children in the East”: Political conflict between popular demand for child actors and modernizing cultural policy on the … Continue reading

Audiences on the US east coast never got to see Pollard’s perform during Leah’s tours, or at any other time. The New York Society for the Prevention of Cruelty to Children (the “Gerry Society”) were particularly active over the issue of child performance on stage and they appear to have kept Pollard’s Lilliputians away from the big cities on the US east coast, where the society was most active.^[12]This was reported in North America at the time – see for example The Chicago Tribune, 19 May 1902, P12 (a highly fanciful account but one that acknowledges the concept of child performers to be … Continue reading But there was enough interest in other towns and cities of North America to keep the Pollard’s troupes going. They returned home on the SS Moama in early 1907.

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Leah on stage in Australia 1907-1908

The next Pollard tour to North America departed in June 1907, but Leah did not join it. Instead, in 1907 and early 1908 she appeared with troupes in eastern Australia. Perhaps she decided it was time to try out on her own – or maybe she was thought to look too mature. She spent much of her time performing at the Adelaide Tivoli Theatre. According to some reviewers she was “dainty”, “sang well”, and was “the brightest item on the bill.” But she did not appeal to all Australians – whose taste in theatre could still be conservative. According to Adelaide’s Gadfly, she made the mistake of appearing on stage in trousers as a “soldier boy”, as she had previously looked “much better in skirts”.^[13]The Gadfly (SA), 27 Nov 1907, P8, via National Library of Australia’s Trove

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Leah and her secret, 1908

Then in late 1908 Leah discovered she was pregnant and soon after, she ceased appearing on stage. We know nothing of the context of her pregnancy and the birth certificate for her son Claude, born in May 1909, is rather sad and stark. The baby was born at the family home in Little Lonsdale Street, with Leah’s mother Minnie assisting at the birth.^[15]Victoria, Births Deaths & Marriages Claude Leichner birth certificate, 18 May 1909, 12829 /1909 No father is named, the responsibility for parenting an illegitimate child then rested entirely with the mother, who also faced extraordinary social stigma. But it is now clear that Minnie took over the parenting of grandson Claude, and 6 weeks later, Leah joined the next Pollard’s tour – that might take her away for an extended period of time.

Leah and the 1909 – 1910 Pollard tour of India

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In April 1909 Charles Pollard announced he was retiring from running the Pollard’s tours.^[17]The Telegraph (Qld.) 17 Apr 1909, P8, via National Library of Australia’s Trove The youngest member of the Pollard family, Arthur, would take over as manager. (Nellie Chester chose not to join him). The next troupe was partly made up of new faces, but there were some former Pollard players, including Leah Leichner, Irene Finlay, Willie Howard, and the twins Johnnie and Freddie Heintz. Perhaps Arthur Pollard wanted some experienced players in the group and approached seasoned performers such as these to join. (He knew these performers well – he had been on all of the previous Charles Pollard-Nellie Chester tours). About thirty young people and various adults departed on 3 July 1909 on the SS Gracchus, bound for Java and Singapore.^[18]The Daily Telegraph (Syd) 7 July 1909, P12, via National Library of Australia’s Trove At 19 years of age, Leah was the oldest performer in the troupe.

Arthur Pollard’s assault on Leah apparently took place in Malaya. Australian newspapers reported that Leah had been beaten with a heavy stick, “inflicting a severe wound over the eye, because she went out with a man in a motor car, which was against the rules“^[19]The West Australian (WA) 21 Apr 1910, P3, Via National Library of Australia’s Trove Leah was then reportedly sent home to Australia from Calcutta in mid December 1909, because she was “unruly.” Other child performers had reportedly been roughly treated, or confined to bread and water, or had their hair cut, or were punished in other ways. But later reports confirm that the problems on the tour started very early on – and demonstrate that Arthur Pollard clearly had a temperament completely unsuited to managing children.

Although legally guardian of the children, Pollard had also started an intimate relationship with 18 year old Irene Finlay while on the trip, or possibly before. He attempted to defend himself in a letter to The Madras Times but this only seems to have made things worse, as he denied mistreating the children, but then admitted he had. Pollard also brought “charges” against an unspecified girl in the troupe, which newspapers refused to publicise. ^[20]The Daily News (WA) 9 Mar 1910, P7, Via National Library of Australia’s Trove This writer feels it was the news of Leah’s baby at home – her secret had got out somehow. Pollard claimed that several of the main complainants “are telling falsehoods and so is Fred Heintz. I have boxed Fred’s ears, and I smacked him on the proper place several times, but never without good cause…Yes it has been a rule in this company to cut a girl’s hair off…” He also said that he had done the right thing by paying salaries to some parents in advance and he had also paid for some of the children’s clothes.

But the Pollard tour was already collapsing by that time, and within a matter of weeks almost all the performers announced they wanted to go home, and more dramatically still, members of the Madras Society for the Prevention of Cruelty to Children had become involved and had removed the children from Pollard’s care.^[21]The Daily News (WA) 9 March, 1910, P7, Via National Library of Australia’s Trove

By April 1910, Australian newspapers were regularly reporting all of the claims and counter claims that had been made in the Madras High Court.^[23]The West Australian (WA) 21 Apr 1910, P3, via National Library of Australia’s Trove The Melbourne Herald cited a letter from Alice Cartlege to her mother which gave a 12 year old’s simple but indignant perspective: “Dearest Mother, A few lines to tell you everything at last… The company is broken up. Mr Pollard and — (a member of the company) are getting away to America. Pollard has been a pig to us…”^[24]The Herald (Vic) 23 Mar 1910, P6, via National Library of Australia’s Trove It seems Arthur Pollard, unwilling to face a court outcome, then made a run for French Pondicherry, taking with him the proceeds of the performances to date, and Irene Finlay, but abandoning the rest of his charges in the process.^[25]Barrier Miner (Broken Hill, NSW), 29 Apr 1910, P2, via National Library of Australia’s Trove A few months later, in May 1910, the child performers were returned home to Melbourne on the SS Scharnhorst and the French steamer SS Caledonian. The disastrous Pollard tour of 1909 was over.^[26]The Herald (Vic.) 17 May 1910, P5, via National Library of Australia’s Trove

There was a consequence at the highest level. The Australian Emigration Act of 1910, written and passed by Federal parliament within 10 months of the tour, prohibited any child being taken out of Australia to perform “theatrical, operatic or other work.” The bad publicity brought the days of Pollard’s extended overseas tours for child actors to an end. But while the Pollard’s popular reputation had been damaged, it was not so badly that Nellie Chester could not run a final North American tour in 1912, this time with older players.

Leah after Pollards

Leah Leichner appeared again on the Australian stage in early March 1910. She made one short public comment to correct details of events of the tour – the motor car incident. It had been a group of Pollard performers in the car going for a picnic, not just her. And it was she and her family who had arranged her return to Australia, not Pollard. In fact, her stepfather had sought advice from the well known Melbourne lawyer and former state premier, Sir George Turner, about her situation, and it was with his encouragement that she was returned home.^[27]The Age (Vic) 25 Apr 1910, P9 Via National Library of Australia’s Trove

Leah continued performing in Australia until she married actor-turned electrician Frederick Johnstone, in 1914.^[28]Victoria, Births Deaths & Marriages Leah Leichner and Frederick Johnstone Marriage certificate, 22 August 1914, 8536 /1914 Johnstone joined the Army in late 1915, in the great surge of enlistments following the Australian landings at Gallipoli. Leah appears to have taken over parenting Claude by this time – and her mother Minnie and step-father Isaac both died in 1916.

Unfortunately, Fred Johnstone launched divorce proceedings against Leah in 1918. In a detailed divorce case, he complained she had been living with another man, while he was away in Europe, pretending he had been killed at Gallipoli. After his discharge as medically unfit in early 1918, he made strenuous attempts to tail Leah and find the co-respondent – unusual steps even for the time. Leah refused to take Johnstone’s complaint seriously or to defend herself in court, and a divorce was finally granted in 1920. Reading the divorce documents today one gains the impression she was determined not to be intimidated by the process.^[29]Museums of History, NSW, NRS-13495-13-[13/12942]-628/1918 | Divorce papers Frederick Alexander Johnstone – Leah Constance Johnstone, Maurice Costello

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Leah’s movements after the divorce are less clear, but there is compelling evidence that in the early 1920s she took Claude and moved to Calcutta, India. What her circumstances were, is still not clear.

In the post-war period her sister Bella also appeared as a performer in Australia. In 1925, Bella was performing with Anona Winn in the London Musical Comedy Company in Calcutta.^[32]The Times of India, 25 Nov, 1925, P7, ProQuest Historical Newspapers The company’s repertoire included the ever familiar and popular light operas that Pollards had once performed. By 1928, Bella was entertaining expats in a revue at Shanghai’s Little Club, situated just near the Nanjing Road.^[33]The China Press, 5 June, 1928, P3, ProQuest Historical Newspapers It was while in Shanghai that Bella married Joseph Vella, an engineer.

Leah Constance Hawkett in Hong Kong

There is no evidence Leah returned to the stage at any time, but by the 1930s she had found a home in Hong Kong, and married James Henry Hawkett, a Royal Navy port official.^[34]His formal title was Pier Master. In February 1940 James was awarded a Humane Society medal for saving three Chinese from drowning off Stonecutter’s Island, Hong Kong Leah was now known to all as “Connie,” a nickname apparently based on her adopted middle name of Constance.^[35]Her middle name at birth had been Caroline

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Despite a significant age difference with James – she was 14 years his senior – the couple enjoyed a happy and lasting relationship.

Unfortunately, their happy life was interrupted for three years and eight months, following the Japanese invasion of Hong Kong in December 1941. Leah’s friend Mabel Redwood (1895-1975) wrote her memoirs of internment in Hong Kong under Japanese occupation, and her book It Was Like This opens with a joke made by ‘Connie,’ “an irrepressible Australian.” The women were both in the Auxiliary Nursing Service (ANS), working in a casualty clearing station set up in the Hong Kong Jockey Club. On Christmas Eve 1941, Mabel recounted that as the 24 British nurses crawled into their cold camp beds, ‘Connie’ joked “Whose going to hang up their stockings tonight?… Connie’s joke helped, for we felt the situation could hardly have been grimmer.” ^[36]Mabel Winifred Redwood (2003) It was like this, P1, ISIS Books Both Leah and James survived Japanese internment.

Leah Constance Hawkett died in Hong Kong in May 1957. Her well constructed and cared for grave in Hong Kong cemetery speaks of great affection from James Hawkett, who also arranged for a photo of a smiling Leah to be placed on the headstone. It has faded in the Hong Kong climate, but can still be seen at her Find a Grave entry, here. James Hawkett remarried and raised three children. He died in England in 1999, but a family member has told this writer that James regularly visited her grave whilst living in Hong Kong.

What happened to everyone else

• Arthur Pollard was 37 when he eloped with 18 year old Irene, abandoning the Pollard troupe, and his wife Mary and two children in Charters Towers, Queensland. He and Irene ran cinemas and lived as man and wife in southern England before moving to New Zealand in the early 1920s. He married Irene in 1925. More on their professional and personal lives can be found here. He died in New Zealand in 1940. Irene Pollard died in 1962.

• Some of the children continued performing after the Arthur Pollard tour. Florrie Allen, the youngest of Arthur Pollard’s tour, continued performing on stage in Australia and then turned to running her own dancing school. Elsie Morris had some success with a male impersonation act, while Freddie Heintz moved to the US and attempted a stage career – without much success, probably because his brother Johnnie had given up the stage and become a baker. Like Johnnie, most of the young Pollard’s performers disappeared from the historical record.

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NOTE 1 – The participants on Arthur Pollard’s Tour

• While making their way home in April 1910, Truth newspaper listed some of the members of this company. It is reproduced here to give some idea of the group’s strong inner suburban Melbourne profile. However, the list is missing some names, including Leah Leichner’s and Irene Finlay’s, and the author has corrected some spellings.^[37] Truth (WA) 2 Apr 1910, P8, Via National Library of Australia’s Trove
  • Alma Young, 12 years, 28 Fitzroy Street, Fitzroy;
  • Ruby Ford, 17 years, 368 Cardigan Street. Carlton;
    [Note – Officially, Ruby was the troupe’s teacher.
    Leah’s maternal grandmother Sarah Grant lived a few doors away at 324 Cardigan St]
  • Florrie Allen, 8 years, 437 Cardigan Street, Carlton;
  • Rita Bennett, 12 years, 58 Osborne Street, South Yarra:
  • Dora Isaacs, 16 years, 280 Lygon Street, Carlton;
  • Millie 17 years, Rose 15 years, Clara 12 years, McGorlick, 81 Rokeby Street, Collingwood;
  • Lottie Parry, 9 years, 74 Rupert Street, Collingwood;
  • Violet Jones, 15 years, “Waratah,” 26 Moore Street, South Yarra;
  • Ella 13 years, Pat 12 years, Nugent, 95 Rowena Parade, Richmond;
  • Elsie Morris, 13 years, 5 Greeves Street, Fitzroy;
  • Ethel 14 years, Nellie 18 years, Naylor, c/o Lucas’s Cafe, Swanston Street, Melbourne;
  • Ivy Ferguson, 12 years, 104 Grey Street, East Melbourne;
  • Alice Cartlege, 15 years, 322 Lygon Street, Carlton;
  • Willie Howard, 11 years, 46 King William Street, Fitzroy;
  • Mary [Myra] Finlay, 16 years, Sydney;
    [Note – Not listed here but also on tour was Myra’s older sister Nellie Quealy as well as Irene]
  • Fred and John Heintz, 14 years, 84 Kerr Street Fitzroy
  • Charlie, 13 years, LeslieDonaghey, 14 years, Sydney,
  • Arthur Austin [no address]
  • Walter Byrne [no address]

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Nick Murphy
Revised January 2023

Thanks

• To John and Joan Grant of Brisbane, for their kind assistance.
  John, who is Leah’s grandson, was able to confirm many details.
  
• University of Washington Special Collections, for permission to use their photos from the J Willis Sayre Collection of Theatrical Photos.
  
• Australian Performing Arts Collection, Arts Centre Melbourne. Their collection – donated by Irene Goulding in the 1980s, is invaluable, and to Claudia Funder, Research Service Coordinator,  Arts Centre Melbourne
  
• To Jean Ritsema, my friend in Michigan, for her ongoing research efforts in North America..

Further Reading

Museums of History, New South Wales.

• NSW State Archives, Johnstone Divorce papers

Gwulo Old Hong Kong History Site

• Leah Constance Hawkett

Text

• Gillian Arrighi & Victor Emeljanow (Eds) (2014) Entertaining Children: The Participation of Youth in the Entertainment Industry, Chapter 3, Palgrave MacMillan.
  
• Gillian Arrighi (2017) The Controversial “Case of the Opera Children in the East”: Political conflict between popular demand for child actors and modernizing cultural policy on the child”. Theatre Journal 69, (2017) John Hopkins University Press.
  
• Kirsty Murray (2010) India Dark. Allen and Unwin
  [Note: While written as a novel for teenagers, this beautiful book is closely based on the events of Arthur Pollard’s troupe in India and is highly recommended]
  
• Justine Hyde’s blog Hub and Spoke which includes an interview with Kirsty Murray about India Dark.
  
• Leann Richards (2012) Theatrical Child Labour Scandal  Stage Whispers website.
  
• Gerry Brody (2021) Shonky celebrants and wonky marriages ….. Holt’s matrimonial agency and the Free Christian Church State Library of Victoria
  
• Mabel Winifred Redwood (2003) It was like this, P1, ISIS Books

Australian Dictionary of Biography, National Centre of Biography, Australian National University

• Geoffrey Serle, ‘Turner, Sir George (1851–1916)’, published first in hardcopy 1990, accessed online 10 January 2023.

Federal Register of Legislation (Australia)

• Emigration Act 1910

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