Above: 16 year old Leah Leichner and others on the marathon 1904-7 Pollard tour. This photo is enlarged from a group photo via Vancouver As It Was: A Photo-Historical Journey (click to follow the link) with their permission. The author believes Leah Leichner is the girl in the centre of the photo.
Leah Leichner was a performer with Pollard’s Lilliputian Opera Company. She is significant because in March 1910, reports of her – and others – being mistreated while on the Pollard tour of India formed part of a damning public commentary. This in turn led to legislation banning Australian children being taken out of the country to perform.
Australian newspapers reported that company manager Arthur Haydon Pollard had beaten Leah 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.” Other child performers had been similarly treated, or confined to bread and water, or had their hair cut, or were punished in other ways. As well as being beaten, Leah Leichner had been sent home to Australia in December 1909, because she was “unruly.” 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 removed the children from Pollard’s care.
Gillian Arrighi and others have written of the phenomenon of the child performance tours of the early 20th Century. It is worth pausing and looking past the nationalist sentiment we might attach to these pioneer Australian performers today, and recognizing 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 after 1909 to Arthur Pollard, meant parents received payment for their child’s performances.
Above, left to right; Charles Pollard (unfortunately with his eyes closed), Nellie Chester (formerly Pollard) who ran troupes to North America until 1909 and Arthur Haydon Pollard who ran the 1909 troupe to India. These enlargements are from a group photo via Vancouver As It Was: A Photo-Historical Journey (click to follow the link) and is used with their permission.
Excitement, a chance to travel, a possible career path and a mighty ego boost were the benefits for the children, but they did not receive any form of salary and at best a fitful education. With only a handful of exceptions all came from working class families in inner Melbourne (See Note 1 below). It seems likely the organisation targeted these suburbs, presumably because they found parents and children more receptive to their plans. And as novelist Kirsty Murray has noted, without a state secondary education system, this form of apprenticeship was an attractive option for some parents.
Pollard’s advertises for new child performers at Ford’s Hall, 150 Brunswick St, Fitzroy. The Age, 13 Feb, 1907. Via the National Library of Australia’s Trove.
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 Pollard’s performers were playing adult roles on stage, a fact that 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?” As Gillian Arrighi notes in her 2017 article on the case, “the authors of these musical comedies never intended them for performance by children.”
At least some audiences never got to see Pollard’s perform. The New York Society for the Prevention of Cruelty to Children appears to have kept Pollard’s Lilliputians away from the big cities on the US east coast, where the society was most active.
Leah’s birth and childhood in Melbourne
Born Leah Caroline Cohen on 9 July 1890 in Fitzroy, like many Pollard’s performers Leah was from working class inner Melbourne. Her mother Minnie nee Grant had been born in Mount Gambier, South Australia, while her father Samuel Harris Cohen was an English-born tailor. Only a few years after her birth, Minnie and Leah had left Samuel. In 1900 Minnie married Isaac Leichner, a Rumanian-born fruiterer based at the Queen Victoria Market. Together they lived in nearby Little Lonsdale Street. Leah took her step-father’s surname for her own.
Leah and two Pollards Tours of North America
At the age of 12, Leah auditioned for a Pollard’s tour in late 1902, managed by Nellie Chester and her brother Charles Pollard. Manifests show she joined the troupe on SS Changsa, departing in January 1903, bound for Hong Kong and then on to North America. She was in company with names familiar to us now – Daphne Pollard (Trott) and her sister Ivy, Teddie McNamara and Alf Goulding, and others whose adventures are documented elsewhere including Midas Martin and Willie Thomas.
In 1904 she 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 give performances in the “far east” before arriving in the USA in March 1905. This group of Australian child performers stayed away from home for an extraordinary 28 months – not returning until late February, 1907. Leah can be traced through some of the positive publicity given by the press, but Canadian and US audiences also had their particular favourites in the company, most notably Daphne Pollard.
The repertoire performed by this troupe included the musicals “A Runaway Girl”, “The Belle of New York”, “The Lady Slavey” and “HMS Pinafore”. The reader can find a posed photo of Leah Leichner and Daphne Pollard in “The Geisha” here at the University of Washington Special Collections (click to follow link) The photo is credited to Ying Cheong, a photographer and painter in Canton Road Shanghai, meaning it was probably taken in late 1904, before the company reached North America.
Above: This is the cast from the same play being performed in Montreal, Canada, in November 1905. The ages in this program are all incorrect despite the Pollard company assurances. For example, Daphne Pollard was 14, Leah Leichner 15. Extracts from a program in the author’s collection.
Leah and her secret, 1907 – 1908
Leah did not join the next Pollard tour of North America, but in 1907 and 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 old. 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”.
Above: Sydney Morning Herald advertisement, 17 October, 1908. for Harry Rickard’s Tivoli Theatre. Leah appears in company with May Dalberg (presumably the same Mae Dahlberg who was later associated with Stan Laurel) Soon after this, Leah disappeared from the stage. Via Newspapers.com
Then in October 1908 Leah received some news that must have been a shock. She 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, 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. No father is named, the responsibility for parenting an illegitimate child then rested entirely with the mother, who also faced extraordinary social stigma. Almost certainly the baby was adopted out, as he disappeared entirely from the historical record. And 6 weeks later, Leah, joined the next Pollard’s tour – that might take another two years. It would be extremely unusual if she were not in a fragile state following the birth.
Leah and the 1909 – 1910 Pollard Tour of India
In April 1909 Nellie Chester and Charles Pollard announced they were retiring from running the North American tours. Arthur Pollard would take over as manager. The next troupe was partly made up of new faces, but there were a good number of former Pollard players, including Leah Leichner, Irene Finlay, Willie Howard, the three McGorlick sisters, Leslie and Charlie Donaghey and John and Freddie Heintz. Perhaps Arthur Pollard wanted some experienced players in the group and approached seasoned performers such as these to join. (He knew all of these performers well – he had been on the Pollard tour of 1905-7). About thirty young people and various adults departed on 3 July 1909 on the SS Gracchus, bound for Java and Singapore. At 19 years of age, Leah was the oldest performer in the troupe.
Arthur Pollard’s assault on Leah apparently took place in Malaya, and she was sent home to Australia in mid December 1909. Of the “motor car” incident we have very little information. But later reports confirm that the problems on the tour started very early on – and demonstrate that Arthur Pollard clearly had a temperament unsuited to working with children. Although legally guardian of the children, he had also started an intimate relationship with 17 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! “The three girls in question 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 complained 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.
By April 1910, Australian newspapers were regularly reporting all of the claims and counter claims that were being made in the Madras High Court. The Melbourne Herald cited a letter from Alice Cartlege to her mother which gave a 12 year old’s simple but indignant perspective:
Madras Feb 17 1910
A few lines to tell you everything at last. I would have told you before but feared you would fret. 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 and the way he has banged some of us about is awful. His talk was disgusting. He mocked at us and said we couldn’t get away for two years. In Bangalore he banged every boy except his favorite, and he knocked Violet Jones about. He hit Freddie Heintz about dreadfully, and the people interfered owing to his screams… Mrs Quealy and Miss Thorn the matron are now in charge of us, and they are good to us. Don’t worry, I shall be with you soon. Your loving daughter Alice Cartlege.
It seems Arthur Pollard, unwilling to face a court outcome, made a run for French Pondicherry with the proceeds of the performances to date, taking Irene Finlay with him but abandoning the rest of his charges in the process. 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.
Above: The company on Sunday 20 February 1910, two days after breaking up, photographed on the estate of Mr Scovell, near Bangalore. The Leader, 20 April, 1910. Via the National Library of Australia’s Trove.
The Australian Emigration Act of 1910 prohibited any child being taken out of Australia to perform “theatrical, operatic or other work.” The days of Pollard’s Lilliputian Opera Company two-year tours was over. It took the Australian Parliament less than 10 months to design and enact the law. (See Note 3)
Leah Leichner had appeared again on the Australian stage in early March 1910, before any of the other Pollard performers returned. She made one short public comment to correct details of events of the tour – the motor car incident, then nothing more. She continued performing until she married actor-turned electrician Frederick Johnstone, in 1914. Johnstone joined the Army in late 1915, in the great surge of enlistments following the Australian landings at Gallipoli. But Johnstone launched divorce proceedings against Leah in 1919. He said she had been living with another man, pretending he had been killed at Gallipoli. Sadly, Leah disappeared completely from the historical record after this and what became of her we do not know.
She left an intriguing footnote behind. Both Minnie and Isaac died within months of each other in 1916. Presumably, respecting their wishes, Leah buried her mother in the Anglican section of Boorondara Cemetery. However, Isaac was buried in the Jewish section of Fawkner cemetery, some 20 kilometres away. The headstones express similarly warm sentiments to both Isaac and Minnie.
Above left: Irene Finlay , The Leader, 21 May 1910. Via the National Library of Australia’s Trove. Right:”Bella Lichner”, most likely to be Leah’s step sister Bella (born to Isaac and Minnie in 1900) is known to have performed at the Tivoli in Adelaide in the early 1920s. Via the National Library of Australia. Prompt Collection Scrapbook
Irene Finlay and Arthur Hayden Pollard finally married in New Zealand on 27 February 1925. They lived comfortably in the suburb of Ponsonby, overlooking Auckland Harbour, until Arthur’s death in 1940.
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 appears to be missing some names, including Leah Leichner’s and the author has corrected some spellings.
Alma Young, 12 years, 28 Fitzroy Street, Fitzroy;
Ruby Ford, 17 years, 368 Cardigan Street. Carlton;
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 15 years, Pattie 16 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 Williams Street, Fitzroy;
Mary Findley, 16 years, Sydney;
Fred and John Heintz, 14 years, 84 Kerr Street Fitzroy
Charlie, 13 years, Leslie Donaghey, 14 years, Sydney,
Arthur Austin [no address]
Walter Byrne [no address]
There are several newspaper reviews of the Pollards troupe in Hawaii in March 1908 that mention performances by Leah Leichner. It is not likely that she travelled for a short time to Hawaii to briefly join a Pollard tour, and she would not have been there on 11 March, as she was performing at Launceston’s Empire Theatre on 29 February. (See for example, The Honolulu Advertiser 11 March 1908)
There were groups of Australian performers at work in North America after 1910, who used Pollard’s in their Company title. However, these were adults, who were often trading off the company name, some of whom had been performers in the past.
Above: The Honolulu Advertiser 22 July 1912.Via Newspapers.com
- 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.
National Library of Australia’s Trove
- The Telegraph, 17 Apr 1909.
- The Herald , 23 March 1910, 17 May 1910
- Truth, 2 April 1910.
- The West Australian, 21 Apr 1910
- The Age, 25 Apr 1910
- Barrier Miner 29 Apr 1910
- The Leader, 20 April, 1910, 21 May 1910
- The Argus, 18 October 1910
- The Honolulu Advertiser 11 March 1908, 22 July 1912
Singapore Government Digitised newspapers project – Newspaper SG
Federal Register of Legislation (Australia)