Category: Pollard’s Lilliputian Opera Company

Elsie Jane Wilson (1885-1965) actor and Hollywood director

Above and below; Sydney-born actor and director Elsie Jane Wilson in a spread in Photoplay magazine in late 1917. She had been working in the US for 6 years. [1]Photoplay magazine Oct 1917-March 1918, via Lantern, Digital Library

How could a successful Australian actress, who directed her first film in Hollywood in 1917, at the age of about 32, be so quickly forgotten? Unfortunately, even in her lifetime, press accounts tended to assume Elsie Jane Wilson was, like her husband Rupert Julian, New Zealand born, or perhaps English, and since then, even homegrown accounts have overlooked her. It is only in the last few decades that Elsie has finally attracted some of the interest she deserves. Recent writers include Mark Garrett Cooper at the Women Film Pioneers Project (here), Karen Ward Mahar and Robert Catto at his specialist website devoted to Rupert Julian (here).

Directing was “man’s work” Elsie suggested to interviewer Frances Denton in the Photoplay interview. But the posed photograph used in the article presents Elsie as a woman of ability and authority.[2]Photoplay magazine Oct 1917-March 1918, via Lantern, Digital Library

One of a group of women who directed at Universal Studios in the 1910s, Elsie had enjoyed a successful Australian stage career before appearing on stage in the US and acting in 40 films. She is known to have directed at least 10 films and also wrote several screenplays – all this before 1920. Her working life after 1920 remains obscure, although there is evidence suggesting she kept working in partnership with Rupert.

The Wilson family

Elsie Jane Wilson was born in Sydney on November 7, 1885[3]NSW Births Deaths & Marriages, Birth Certificate 3700/1885 to James Wilson, a 51 year old Scottish immigrant and his 37 year old English wife Jane nee Jordan. By the time of her marriage to New Zealand actor, Percival Hayes (stage name Rupert Julian) in 1906,[4]Victoria Births Deaths & Marriages Marriage Certificate 6213/1906 Elsie was able to describe her father as “a gentleman”, which – in the language of the time – suggested a person of independent means. Records show however, that most of his life he was a bootmaker[5]or “clicker” – a skilled tradesperson who cut boot leather and the family lived for many years in Riley Street, in the inner eastern Sydney suburb of Woolloomooloo.[6]A City of Sydney Archive photo of nineteenth century houses in Riley Street can be seen here

The Wilson family and their neighbours in the 1889 Sands Sydney directory.[7]Sands 1889 Directory, City of Sydney Archives & History Resources

James and Jane Wilson were typical of immigrant couples who had arrived in Australia in the mid 19th century, attracted by the goldrushes, or by the government bounties designed to address skilled labour shortages. The couple had married in Adelaide, South Australia in 1866, but ten years later they were living in Sydney. In addition to Elsie, two other daughters – Nellie (born Catherine Eleanor Wilson in 1877) and Marie (born Marion Wilson in 1889) had stage careers. Undoubtedly encouraged by James and Jane to see the stage as a pathway to success and financial freedom (secondary schooling and university education was not usually an option for working class families), the three girls all appeared on the stage from an early age.

Success of sister Nellie Wilson

Nellie Wilson was born Catherine Eleanor (or sometimes Helen) Wilson in Sydney in 1877.[8]NSW Births Deaths & Marriages, Birth Certificate 2389/1877 She is important in this story because she enjoyed great success on the stage – and Elsie would have grown up as an observer to that success. Elsie was just seven years old when Nellie was touring Australia and New Zealand, notably with Tom Pollard’s Lilliputians, and in company with the likes of Wilmot Karkeek, Harry Quealy, Will Percy and Maud and Mae Beatty – all of whom Elsie is likely to have met, and – significantly, all of whom ended up pursuing careers overseas.[9]See Auckland Star, 28 Nov 1901, P2 Via National Library of New Zealand Papers Past

Elsie’s older sister Nellie Wilson in 1910 [10]Sunday Sun (Syd) 20 Nov 1910, P12, via National Library of Australia’s Trove

Nellie continued on stage in Australia and New Zealand through the 1900s, taking only a little time off for a marriage in 1902 to George Irish, a flamboyant Melbourne motor salesman.[11]Victoria Births Deaths & Marriages Marriage certificate 3786/1902 The marriage did not stop her performing however, and she toured South Africa in 1904 and 1905. The theatrical firm of JC Williamson’s made use of her repeatedly in their Royal Comic Opera Company touring Australasia – which included consistently popular musicals like Florodora, The Belle of New York and The Mikado.

Elsie Wilson – the “promising Australian actress”

Elsie Wilson[12]not yet using her middle name appeared on the Australian stage – with the John F Sheridan touring company in 1904 – performing in the familiar repertoire of musical comedies that Australians liked – Naughty Nancy, The Lady Slavey, The Earl and the Girl and The Mikado, [13]The Newsletter: an Australian Paper for Australian People (Syd) 21 Jan 1905, P7 via National Library of Australia’s Trove later joining Julius Knight’s company. It was while performing in Melbourne in 1906 that she married fellow company member Rupert Julian.

Elsie Wilson, in costume, “one of the most promising of Australian actresses” on the cover of Adelaide’s Gadfly, in October 1907.[14]The Gadfly, 30 October 1907, Cover, Via National Library of Australia’s Trove

For the next five years, the couple worked in the same company and developed their stagecraft. A glance at contemporary newspaper advertisements suggests an exhausting schedule of touring regional and sometimes remote Australia and New Zealand. But the reviews of Elsie’s work became increasingly enthusiastic – by late 1907, Adelaide’s The Gadfly could profile Elsie on their front page and express great confidence in her future as an up and coming actor. The paper reported that it had “arrived at the opinion that the lady is a much finer artist than people think she is, for the obvious reason that most critics have ignored her.”[15]The Gadfly (Adel) 9 Oct 1907, P8 via National Library of Australia’s Trove In early 1909, her excellent voice and spirited dancing were being celebrated in Sydney[16]Sunday Times (Syd) 21 Mar 1909, P6 via National Library of Australia’s Trove while only a few months later, on the other side of Australia, Kalgoorlie’s Sun predicted she had all the makings of “a star emotional actress.”[17]The Sun(WA) 6 June 1909, P7 via National Library of Australia’s Trove

In 1908, JC Williamson’s offered her a salary of £8 per week,[18]about $AU 1,100 today. Her contract survives in the Australian Performing Arts Collection a modest salary when compared to Julius Knight’s £50 per week, but acceptable for a 23 year old whose husband was also earning. The very successful Julius Knight tours included a repertoire of costume dramas such as The Scarlet Pimpernel, A Royal Divorce, The Prisoner of Zenda and The Sign of the Cross, and plays by George Bernard Shaw.[19]See Veronica Kelly (2003) “Julius Knight, Australian Matinee Idol: Costume Drama as Historical Re-presentation” in Australasian Victorian Studies Journal, Vol 9, No 1, 2003

Above Left: Elsie’s husband Rupert Julian in costume, c1917.[20]Motion Picture Magazine, April 1917, P18 via Lantern Digital Library Right: One of Elsie’s mentors, Julius Knight, in costume as Napoleon, c1900 [21]Enlarged from a Talma Photo, State Library of Victoria collections

Elsie Jane Wilson appears in the US

Elsie in Everywoman in 1913.[22]Marysville Appeal(CA), 22 Jul 1913, P3 via Newspapers.com

There was no publicity accompanying Elsie and Rupert’s decision to leave Australia or their departure – rather, it was all done on the quiet – a not uncommon strategy by Australian actors in case things did not go to plan and they had to come home. The couple arrived in Vancouver on 26 July 1911, on the SS Zealandia. Officials recorded her height as 5’7″ (170 cms), almost the same as her husband. Elsie now launched herself in the US using her full and more distinctive name, although at various times she also called herself Elsie Hayes or Elsie Julian. The couple made their way to New York, and they both found work – but not together. Elsie was on stage touring in A Fool There Was in 1912, followed by Everywoman in California. She progressed to Little Theatre performances, but by the end of 1913 had joined Rupert Julian and immersed herself in the booming film industry. Attracted by Elsie’s success in the US, older sister Nellie joined them in California in mid 1913. See Note 1 below.

Elsie’s pathway from the stage to film was likely identical to her husband’s. In a 1916 interview, Rupert Julian claimed he had been “induced… against his will to try… the screen… (and) contrary to his expectation… found it fascinating.”[23]Moving Picture Weekly, 11 Nov 1916 via Lantern Digital Library The IMDB lists Elsie’s first film acting role in The Imp Abroad released in January 1914, followed by The Triumph of Mind, directed by pioneer female film director Lois Weber (1879-1939). The film also featured Rupert.

Elsie in 1914 [24]Motion Picture News, July-Oct 1914, P85. Via Lantern Digital Library

We do not know whether Elsie and Rupert became friends with Lois Weber and her husband Phillips Smalley (1875-1939) – or whether the newly arrived antipodeans were simply another of the professionals Weber famously mentored.[25]Perhaps the couple intrigued Lois Weber. Elsie and Rupert hailed from budding democracies – Australia and New Zealand – where Caucasian women could vote, in fact Elsie would already have … Continue reading Rupert Julian appeared in all of Lois Weber’s films in 1913 and it seems likely his “fascination” extended to developing his own skills as a director. Elsie also acted in several Lois Weber films in 1914, but throughout 1915 and 1916 she became a regular in films directed by Rupert – many of these being “shorts,” part of Universal’s policy of producing a “balanced program” of shorts and occasional features – Westerns, comedies and dramas.[26]Jeannette Delamoir “Louise Lovely, Bluebird Photoplays and the Star System.” The Moving Image: The Journal of the Association of Moving Image Archivists. Vol. 4, No. 2 (Fall 2004), pp. … Continue reading Unfortunately, most of these films are lost.

Creative partnerships between husband and wife, collaborating together in actor-writer/director/producer roles, were a feature of filmmaking in the 1910s. Apart from Elsie Jane Wilson & Rupert Julian and Lois Weber & Phillips Smalley, other collaborative partnerships included JP McGowan & Helen Holmes, Ida May Park & Joseph de Grasse, and Ruth Stonehouse & Gilbert “Broncho Billy” Anderson. These partnerships sometimes saw scripts and scenarios formulated that the couple then performed in or directed. Elsie contributed to at least two scripts that were filmed, one – The Human Cactus(1915) – being directed by Rupert. In this case, the couple also acted together in it.

A Pygmalian-type story by Elsie Jane Wilson formed the basis of The Human Cactus. Elsie played Evangeline, the slum girl who is “cultivated”. [27]The Moving Picture Weekly, June 24, 1915, P31 via Lantern Digital Library
Elsie Jane Wilson acting. Left: Elsie with Rupert Julian in The Evil Women Do (1916) also directed by Julian.[28]Motion Picture News, Sept 23, 1916, via Lantern Digital Library Right: As Nancy in the Jesse Lasky version of Oliver Twist (1916), directed by James Young.[29]Photoplay, February 1917, via Lantern Digital Library

Elsie as a Director

Elsie’s first directing experience was as an uncredited assistant to Rupert Julian on The Circus of Life, another film she also starred in, released in mid 1917.[30]The Moving Picture Weekly Nov 3, 1917, P28 Via Lantern Digital Library Her first credited solo directing assignments were on four feature films featuring child star Zoe Rae (1910-2006), released in later 1917.

Advertisements for two of Elsie’s films featuring Zoe Rae.[31]Motion Picture News Aug 25, 1917, P1297 and The Moving Picture World Dec 8, 1917 P1410 via Lantern Digital Library

Regrettably, only one of her films is freely available today, making analysis of her work extremely difficult. The Dream Lady (1918) has been beautifully restored by the French Centre National de la Cinématographie – it can be seen (here). For an understanding of her other films, we are dependent on synopsises in trade journals and a few reviews – not enough for this writer to attempt any commentary. She acted in several serials in 1917-18, but again unfortunately these have not survived. Her last acting role is reported to have been in an Eddie Lyons comedy short, in 1920.

We know that many of Elsie and Rupert’s films were made under the Bluebird photoplay brand, one of Universal’s subsidiaries with an association for quality, as Jeannette Delamoir has explained.[32]For more on Universal Studio’s production strategy see Jeannette Delamoir “Louise Lovely, Bluebird Photoplays and the Star System.” The Moving Image: The Journal of the Association … Continue reading However, Universal’s head Carl Laemmle made decisions entirely based on commercial principles – rather than any feminist sympathies. By the early 1920s, the studio system had become increasingly dominant. Anthony Slide and Karen Ward Mahar have both written of the post war changes in Hollywood and the consequences for the ten women directing for Universal, including Elsie.[33]See Karen Ward Mahar (2006) Women Filmmakers in Early Hollywood. Johns Hopkins University Press and Anthony Slide (1996) Lois Weber: the director who lost her way in history. Greenwood Press

What happened to Elsie’s career?

Elsie (at right) directing action, in a 1919 Photoplay article entitled “The Women Lend a hand” by Grace Kingsley.[34]Photoplay Magazine, March 1919, P78. Via Lantern Digital Media Library

Elsie’s last credit as a director was in early 1919, on The Game’s Up. But as Mark Garrett Cooper has noted, there is a problem of attribution for female directors of the era, including Elsie Jane Wilson. For example, Cooper notes actor Ruth Clifford (1900-1998) recalled that it was Elsie Jane Wilson who directed her on The Savage (1917), yet the film is traditionally credited to Rupert Julian.[35]See Mark Garrett Cooper (2013) “Elsie Jane Wilson.” In Jane Gaines, Radha Vatsal, and Monica Dall’Asta, eds. Women Film Pioneers Project. New York, NY: Columbia University … Continue reading Contemporary reports also suggested Elsie helped Rupert direct Mother O’Mine (1917) although again, the film’s credits attribute it to Rupert Julian alone.[36]Motion Picture News, August 25, 1917 via Lantern Digital Library However, it is clear that Elsie continued working after her last credited directing assignment. While formal film credits do not exist, there is a body of evidence in the contemporary press indicating that she was regularly assisting her husband in film production – and keen to seek further work as a director.

The cast of Rupert Julian’s The Honey Bee (1920) on set. Elsie Jane Wilson is in the second row. There is no information regarding why Elsie was there.[37]Motion Picture News, Feb 28 1920, P2127 via Lantern Digital Library

On several occasions after 1919, Elsie was publicly announced in trade magazines and newspapers as the director for a forthcoming production. In February 1920 she was announced as director for Opened Shutters, an upcoming Edith Roberts film.[38]The Los Angeles Times, 6 Feb 1920, P23, via Newspapers.com However, in the end it was directed by William Worthington. In late 1922 The Los Angeles Times announced she was planning to direct again,[39]The Los Angeles Times 29 Nov 1922, P15, via Newspapers.com and in March 1923, she was announced as the director of a new series of Baby Peggy films for Universal, with Rupert Julian writing scripts.[40]Baby Peggy, born Peggy-Jean Montgomery (1918-2020) was a popular Hollywood child star Elsie said she was “elated” over her return to pictures and felt certain she had some new ideas to offer. But it was not to be, although Universal did make a Baby Peggy film in 1923, directed by King Baggot.[41]See Exhibitor’s Trade Review, April 7, 1923, P947 via Lantern, Digital Library. Also see The Los Angeles Times, 17 Mar 1923, P22 via Newspapers.com

However most telling, in June 1924, Universal Weekly, the studio’s own magazine, reported that on account of her work on Rupert Julian’s Love and Glory (1924), Elsie had been given “a letter of thanks and a substantial check” by Julius Bernheim, Universal Studio’s General Manager.[42]Universal Weekly, 14 June 1924, P26, via Lantern, Digital Library The article went on to explain that “although not employed by Universal” she was an active aide to her husband as director, handling his working script and assisting him in directing. It was an unusually fulsome public acknowledgement for someone who was not on the payroll. Some months later, several reports credited her with managing Mary Philbin’s makeup and costumes for Rupert Julian’s The Phantom of the Opera (1925).[43]See for example Oakland Tribune (CA)19 Oct 1924, P64 via Newspapers.com

Whether or not Elsie’s last contribution to film was really in 1925, or perhaps after that date, we know that Rupert Julian’s final films were only 5 years later, in 1930, at the beginning of the sound era.[44]See Robert Catto’s website on Rupert Julian for a synopsis of his career He died suddenly in 1943 as a result of a stroke. Elsie lived on in Los Angeles until her death, aged about 80, in early 1965.[45]The Los Angeles Times, 19 Jan 1965, P40 via Newspapers.com Both had become US citizens and there appear to have been no trips home to see extended family in Australia or New Zealand. Elsie and Rupert had no children. I can find no evidence Elsie was ever interviewed about her screen or stage work and sadly, she was completely forgotten in her country of birth until relatively recently.

Note 1 – Nellie Wilson in the USA

Nellie Wilson joined Elsie in the US between 1913 and 1918. Left: Nellie as Nella in So Long Letty (1915).[46]Los Angeles Evening Express,19 Jul 1915, P7, via Newspapers.com Right: Nellie, arrived home in Australia in 1918.[47]Table Talk, 26 Dec 1918, via State Library of Victoria

Nellie Wilson arrived in the US in mid 1913.[48]Variety, 25 July 1913, P25, Via Lantern Digital Library (Her marriage to George Irish had come to an unhappy end when he was admitted to Kew Asylum in May 1912.) But despite her enviable reputation on the Australian and New Zealand stage, Nellie appears to have struggled to establish herself in the US. It was not until 1915 that she found an ongoing role on the stage – in the musical So Long Letty, having renamed herself “Nella” Wilson in the meantime.[49]The San Francisco Examiner 19 Jul 1913,P3 and The Los Angeles Times 24 Jun 1915, P26 via Newspapers.com She returned to Australia in late 1918.[50]Table Talk, 26 Dec 1918, via State Library of Victoria Nellie visited Elsie in the US again in 1931.

Nellie Wilson’s later fate is unknown. One newspaper report suggested she ran a millinery shop in Sydney.[51]Sydney Morning Herald, 7 June 1934, P9, via National Library of Australia’s Trove Marie Wilson married bank officer Phillip John Madden in Melbourne in 1914 and also retired from the stage.

Note 2: Other Elsies and different Nellies

The English Nellie Wilson in 1895.[52]Music Hall and Theatre Review, 1 February, 1895 via British Library Newspaper Archive

There were several performers called Nellie Wilson – it was not an uncommon name. English performer Nellie Wilson visited Australia in the 1890s, and she can be found on the cover of the British paper Music Hall and Theatre Review, 1 February, 1895 (at left). In addition, a long interview with her after her Australian tour can be found in the same paper, May 26 1899, P331. She resembles our Nellie Wilson in appearance and the two are sometimes confused in collections.

This photo in the collection of the State Library of Victoria appears to show our Nellie Wilson (Click here), see also Peter Downes, The Pollards, P110. Confusingly, an additional photo in the collections of the State Library of Victoria appears to show the English Nellie Wilson.

Another Elsie Wilson was active in Australia in the late 1910s. Her JC Williamson’s contract from 1917 survives in the collections of the Australian Performing Arts Collection.

Elsie Wilson was also the name of the long time companion of Gladys Moncrieff.

Nick Murphy
September 2022

References

  • Newspaper & Magazine Sources
    • National Library of Australia’s Trove
    • Newspapers.com
    • State Library of Victoria
    • Hathitrust digital library
    • National Library of New Zealand’s Papers Past
    • Internet Archive Library via Lantern Digital Library
  • Primary Sources
    • Australian Performing Arts Collection, Melbourne.
    • Ancestry.com
    • Victoria, Births, Deaths and Marriages
    • New South Wales, Births, Deaths and Marriages

This site has been selected for preservation in the National Library of Australia’s Pandora archive

Footnotes

Footnotes
↑1, ↑2 Photoplay magazine Oct 1917-March 1918, via Lantern, Digital Library
↑3 NSW Births Deaths & Marriages, Birth Certificate 3700/1885
↑4 Victoria Births Deaths & Marriages Marriage Certificate 6213/1906
↑5 or “clicker” – a skilled tradesperson who cut boot leather
↑6 A City of Sydney Archive photo of nineteenth century houses in Riley Street can be seen here
↑7 Sands 1889 Directory, City of Sydney Archives & History Resources
↑8 NSW Births Deaths & Marriages, Birth Certificate 2389/1877
↑9 See Auckland Star, 28 Nov 1901, P2 Via National Library of New Zealand Papers Past
↑10 Sunday Sun (Syd) 20 Nov 1910, P12, via National Library of Australia’s Trove
↑11 Victoria Births Deaths & Marriages Marriage certificate 3786/1902
↑12 not yet using her middle name
↑13 The Newsletter: an Australian Paper for Australian People (Syd) 21 Jan 1905, P7 via National Library of Australia’s Trove
↑14 The Gadfly, 30 October 1907, Cover, Via National Library of Australia’s Trove
↑15 The Gadfly (Adel) 9 Oct 1907, P8 via National Library of Australia’s Trove
↑16 Sunday Times (Syd) 21 Mar 1909, P6 via National Library of Australia’s Trove
↑17 The Sun(WA) 6 June 1909, P7 via National Library of Australia’s Trove
↑18 about $AU 1,100 today. Her contract survives in the Australian Performing Arts Collection
↑19 See Veronica Kelly (2003) “Julius Knight, Australian Matinee Idol: Costume Drama as Historical Re-presentation” in Australasian Victorian Studies Journal, Vol 9, No 1, 2003
↑20 Motion Picture Magazine, April 1917, P18 via Lantern Digital Library
↑21 Enlarged from a Talma Photo, State Library of Victoria collections
↑22 Marysville Appeal(CA), 22 Jul 1913, P3 via Newspapers.com
↑23 Moving Picture Weekly, 11 Nov 1916 via Lantern Digital Library
↑24 Motion Picture News, July-Oct 1914, P85. Via Lantern Digital Library
↑25 Perhaps the couple intrigued Lois Weber. Elsie and Rupert hailed from budding democracies – Australia and New Zealand – where Caucasian women could vote, in fact Elsie would already have done so, in the 1910 Australian Federal elections. In the US, women’s suffrage was still 6 years away
↑26 Jeannette Delamoir “Louise Lovely, Bluebird Photoplays and the Star System.” The Moving Image: The Journal of the Association of Moving Image Archivists. Vol. 4, No. 2 (Fall 2004), pp. 64-85. University of Minnesota Press
↑27 The Moving Picture Weekly, June 24, 1915, P31 via Lantern Digital Library
↑28 Motion Picture News, Sept 23, 1916, via Lantern Digital Library
↑29 Photoplay, February 1917, via Lantern Digital Library
↑30 The Moving Picture Weekly Nov 3, 1917, P28 Via Lantern Digital Library
↑31 Motion Picture News Aug 25, 1917, P1297 and The Moving Picture World Dec 8, 1917 P1410 via Lantern Digital Library
↑32 For more on Universal Studio’s production strategy see Jeannette Delamoir “Louise Lovely, Bluebird Photoplays and the Star System.” The Moving Image: The Journal of the Association of Moving Image Archivists. Vol. 4, No. 2 (Fall 2004), pp. 64-85. University of Minnesota Press
↑33 See Karen Ward Mahar (2006) Women Filmmakers in Early Hollywood. Johns Hopkins University Press and Anthony Slide (1996) Lois Weber: the director who lost her way in history. Greenwood Press
↑34 Photoplay Magazine, March 1919, P78. Via Lantern Digital Media Library
↑35 See Mark Garrett Cooper (2013) “Elsie Jane Wilson.” In Jane Gaines, Radha Vatsal, and Monica Dall’Asta, eds. Women Film Pioneers Project. New York, NY: Columbia University Libraries.
↑36 Motion Picture News, August 25, 1917 via Lantern Digital Library
↑37 Motion Picture News, Feb 28 1920, P2127 via Lantern Digital Library
↑38 The Los Angeles Times, 6 Feb 1920, P23, via Newspapers.com
↑39 The Los Angeles Times 29 Nov 1922, P15, via Newspapers.com
↑40 Baby Peggy, born Peggy-Jean Montgomery (1918-2020) was a popular Hollywood child star
↑41 See Exhibitor’s Trade Review, April 7, 1923, P947 via Lantern, Digital Library. Also see The Los Angeles Times, 17 Mar 1923, P22 via Newspapers.com
↑42 Universal Weekly, 14 June 1924, P26, via Lantern, Digital Library
↑43 See for example Oakland Tribune (CA)19 Oct 1924, P64 via Newspapers.com
↑44 See Robert Catto’s website on Rupert Julian for a synopsis of his career
↑45 The Los Angeles Times, 19 Jan 1965, P40 via Newspapers.com
↑46 Los Angeles Evening Express,19 Jul 1915, P7, via Newspapers.com
↑47, ↑50 Table Talk, 26 Dec 1918, via State Library of Victoria
↑48 Variety, 25 July 1913, P25, Via Lantern Digital Library
↑49 The San Francisco Examiner 19 Jul 1913,P3 and The Los Angeles Times 24 Jun 1915, P26 via Newspapers.com
↑51 Sydney Morning Herald, 7 June 1934, P9, via National Library of Australia’s Trove
↑52 Music Hall and Theatre Review, 1 February, 1895 via British Library Newspaper Archive

Sketches of Pollard’s Performers

Above: University of Washington, Special Collections, JWS24555. (Enlargement) Reproduced with permission. The Commonwealth of Australia was 4 years old when this photo of the Pollard’s Lilliputian Opera Company was taken in the Philippines in late 1904 or early 1905. Close examination of the original (here) suggests the children are posing with chained prisoners. The children include front row, 1st from left: Leah Leichner, 2L Teddy McNamara, 6L Freddie Heintz, 1st from Right: Harry Fraser (later Snub Pollard), 2R Johnnie Heintz, 4R Daphne Pollard. Standing in the rear at left is Oscar Heintz.

On 30 June 1901, The San Francisco Call announced the impending arrival of an exciting troupe of young Australians, Pollard’s Lilliputian Opera Company from Melbourne. While the paper assured readers they were all extremely talented, it explained they were “all children of the poorer classes”, one performer being “picked up on the streets,” it was claimed.

Over the period 1898-1909, Charles Pollard (1858-1942) and his sister Nellie Chester (1861-1944) took travelling troupes of children overseas, overwhelmingly girls and mostly residents of the inner suburbs of Melbourne, to perform musical comedies at colonial outposts in South East Asia and then through the cities of Canada and the USA. One tour was away for over two years. These troupes were always known as Pollard’s Lilliputian Opera Company, although they had a continually changing mix of new and seasoned performers. The children were indentured to the Pollards in a way we would find unthinkable today – and even then, Pollard tours sometimes caused controversy, most notably in 1909-1910 when Arthur Hayden Pollard‘s (1873-1940) tour to India collapsed in scandal.

The Pollard’s performers were generally the children of unskilled and semiskilled workers; bakers, boot-makers, tailors, plumbers, ironmongers, carriers, cab-drivers and fruiterers. Several parents were bookmakers, the Trott girls (Ivy Trott and Daphne Pollard) were the children of a french polisher, Midas Martyn‘s father was a bookbinder. They were almost all children from families living in modest cottages built in close proximity to light industry – and they particularly hailed from Fitzroy, Collingwood and Abbotsford. Some lived in such close proximity to each other it is inconceivable they were not acquainted before they signed up.

Here are some short accounts of a few of the Pollard children.

Oscar, Freddie & Johnnie Heintz

Johnnie and Freddie Heintz with their mother Annie, c 1907. Private Collection.

Oscar Heintz was born in 1891, twins Freddie and Johnnie Heintz in 1895. Their father John Heintz was a baker, and he and his wife Annie nee Garland lived much of their life in a modest single storied terrace at 84 Kerr Street, just a few doors from the home of Daphne and Ivy Trott, in the heart of Fitzroy ( although the family lived around the corner at 101 Argyle St, when the twins were born). John Heintz died in 1900 aged only in his late 30s. In September 1901 Oscar joined a Pollard troupe tour of North America and then another in early 1903. In July 1904, the twins joined Oscar on a third lengthy Pollard’s tour of Asia and North America, that finally returned home in February 1907.

Above left: The Heintz family lived at 84 Kerr St Fitzroy, the house with the red door. On New Year’s Day 1913,Freddie was chased into his home by Police, after swearing in the street. He threw a chair at them before being arrested. Photo – Author’s collection. Above right: Freddie and Johnnie Heintz on the July 1904 – Feb 1907 Pollard’s tour of North America. Photo – courtesy Robert Maynard
Above: Freddie and Johnnie Heintz performing in the US, c1908. The San Bernardino County Sun (California), 19 Jun 1908, P4, via Newspapers.com

Remarkably, at the end of the tour in 1907, 16 year old Oscar Heintz stayed on in the US, settling in Portland, Oregon, where with the help of the YMCA, he studied, worked in a bank, married, raised a family and eventually became sales manager for Neon Manufacturing. His was the classic American immigrant made-good story. He returned to Australia to visit his family in 1929.

Freddie and Johnnie Heintz travelled again with a Pollard’s North American tour that departed later in 1907, and also on the ill-fated Indian tour in 1909. The twins then appeared on stage in Australia for several years, Freddie performing for a time with Tom Liddiard’s troupe. Freddie, probably the more boisterous of the twins, returned alone to the United States in 1914 – performing for a while with Queenie Williams and some of the other former Pollard’s players. He changed his stage name at least twice – to Freddie Garland and later to Freddie Steele, but struggled to build an ongoing stage career of his own. He crossed the border to join the Canadian Army in 1918. He seems to have ended his days alone, working as a handyman in Freeport, New York. His twin brother Johnnie Heintz would have no more of the life of the travelling performer after 1911 and following in his father’s footsteps, became a pastry chef, based in Adelaide.

Above: Freddie visiting Oscar, as reported in The Oregonian (Portland Oregan), 25 July, 1922. Via Newspapers.com

Alice and Ethel Bennetto

Alice (1886 +) and her sister Ethel (1889+) were born at 36 Argyle Street, Fitzroy, to Arthur Martin Bennetto, a bricklayer and Sarah nee Montague They both travelled on the Pollard’s tour of North America in Sept 1901 – Oct 1902.

When US President William McKinley died in September 1901, the Pollard’s company, then travelling through Honolulu, joined a Jewish memorial service held in the assassinated President’s honour. 16 year old Alice Bennetto led a chorus of Pollard’s children singing during the service. Company treasurer Arthur Levy introduced the children’s music with the solemn words “We have come as Israelites…” suggesting that more than a few of the performers were from inner Melbourne’s large Jewish community.

In 1903 the Bennetto family had moved to 86 Kerr St Fitzroy, next door to the family of Oscar, Johnnie and Freddie Heintz. Both the Bennetto girls went on to stage careers in Australia and New Zealand, with some success. Ethel, famous for her dancing and singing, earned some notoriety in 1918 when the Melbourne Police took exception to some of the scanty “Egyptian” costumes she wore in the Tivoli theatre production Time Please. She also appeared in the (now lost) Australian comedy film Does the Jazz lead to Destruction? Soon after, while performing in New Zealand, she met and married a doctor and subsequently left the stage.

But Alice maintained her career. She was still singing for Australians thirty five years later, as a member of Stanley McKay’s Gaieties troupe.

Above: Ethel in Egyptian attire, reported by The Sun (Sydney) , 28 Jul 1918, Page 10, Via National Library of Australia’s Trove.
Above left: The very modest terrace at 36 Argyle St Fitzroy, the house with red painted verandah iron in the centre – the home of the Bennetto family when Alice and Ethel were born in the 1890s. Photo – Author’s collection. At right: Alice Bennetto in Table Talk (Melbourne), 6 January 1910. Via the National Library of Australia’s Trove.

Ethel Naylor

Born in Williamstown, Victoria in 1896, Ethel Naylor travelled on the July 1907- April 1909 Pollard’s tour to North America. In July 1909, she also departed on Pollard’s Indian tour, this time with her older sister Nellie. The girls were the daughters of bookmaker Joseph Naylor and Alice nee Kennedy.

Their family life had been very difficult – Joseph suffered such serious mental illness that he was hospitalised in the asylum at Kew in 1905. He died there in 1907. Of his seven children, only Ethel, Nellie and one other sibling survived childhood – an experience enough to test the sanity of anyone. His widow Alice found life hard, and she drifted between residences. The only contact Truth newspaper could find for her when the Pollard’s Indian tour returned in 1910 was Alice’s workplace address – which was the famous Lucas’ Town Hall Cafe, in Swanston Street, Melbourne, now where the Capital Theatre stands.

The 3 story Town Hall Cafe (centre) and the Talma Photographers building, Swanston Street, Melbourne, from the Town Hall corner, c.1899. State Library Victoria, Gwyn James Collection, H93.466/6. (The Talma Building still stands)

Ethel did perform on stage again, and with significant success. In July 1912 Nelly Chester raised another Pollard’s troupe for touring the US. This time the players were older, and no longer described as Lilliputians, or children, so as to comply with the 1910 Emigration Act. However, many were former Pollard’s players, including Ethel. She did well with the “Pollard’s Juvenile Troupe” that travelled through the United States and Canada. Like many of the performers on this final tour, Ethel stayed on in the US. By the late 1920s she had well and truly changed direction and was working as a registered nurse at the General Hospital in Aberdeen, Washington state. She married in 1932.

Minnie, Nellie and May Topping

Henry Topping was a plumber, and with his wife Mary Ann, nee Plant, they parented seven children. The family lived in and around the northern end of Fitzroy Street, a north-south street that runs the length of the suburb of Fitzroy. They lived a few hundred metres from the Trott and Heintz families in nearby Kerr Street. Minnie (born 1885), Nellie (born 1888) and May (born 1890) Topping all appeared with Nellie Chester and Charles Pollard’s troupes. All three children travelled together on the 1901-1902 tour to North America, and May and Minnie again in 1902-3.

Minnie and May Topping, photographed in 1909. The Gadfly (Adelaide), 20 January 1909, Via the National Library of Australia’s Trove. Photo of the northern end of Fitzroy St, looking south, from the footpath outside the Topping’s now demolished home. Author’s collection.

The Topping sisters moved across to the other Pollard’s Liliputian (consistently spelled with two rather than 3 “L”s) Company in 1907 – this company was run by Tom Pollard and performed exclusively throughout Australia and New Zealand. They are unusual in that respect – as most players did not do this. We can assume they found the extended North American travel with Charles Pollard and Nellie Chester too arduous.

Minnie Topping, who had proved to be a very popular performer, left the Australian stage in 1913, after marrying a Queensland pastoralist. May continued to perform with the Lionel Walsh – Phil Smith company until her marriage in 1923. By this time, the family home (the girls lived here until they married) was at 521 Canning Street Carlton North, a building that still stands. (Left- author’s collection)

We know a little more of the Topping family life because in 1899, a long suffering Mary Ann took Henry Topping to court to force him to support the family, and the Melbourne Herald reported the case. He was a drunken and violent husband and Mary Ann and the children had left him because of this. By way of a somewhat lame explanation, Henry explained that he was not a certified plumber, and had only made 2 shillings so far that week. The court found in favour of Mary Ann and ordered Henry to support his family. Of the black eyes he had inflicted on Mary Ann, the court had nothing to say.

George (born 1881), another of the Topping children, was an Australian Rules Footballer for Carlton, and later an AFL Umpire. The girls’ youngest brother, Albert, was killed soon after arriving on the Western front in August 1916.

Minnie Topping with a daughter, c1923. Private Collection

Nick Murphy
December 2020

Special Thanks

  • University of Washington Special Collections, for permission to use the photos of the troupe. Their collection of photos of the Pollard’s troupes while on tour in North America is invaluable.
  • To Jean Ritsema, in Michigan, for her research efforts in North America.

Fiction
In the absence of meaningful contemporary interviews with these performers, two works of fiction are highly recommended – that help give some sense of the context, motivation and everyday lives of young Australian performers.

  • Kaz Cooke (2017) Ada. Comedian, Dancer, Fighter. Viking /Penguin. A fictional account of Ada Delroy’s life.
  • Kirsty Murray (2010) India Dark. Allen and Unwin. A fictional work inspired by the Pollard Tour of India in 1909-1910.

The Australian Performing Arts Collection, Arts Centre Melbourne, holds an interview with Irene Goulding, a former Pollard performer, made in 1985.

General Reading

  • 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.

Birth certificates, Ships manifests, Voting rolls, Census details etc sourced from

Regarding Oscar, Freddie and Johnnie Heintz

  • Via Newspapers.com
    Calgary Herald (Alberta, Can) 9 Oct, 1908 P7
    The Evening News (Penns) 13 Dec 1922, P12
    Oregonian (Oreg) 10 Oct, 1929
  • Via National Library of Australia’s Trove
    Herald (Vic) 3 Jan 1913, P 6

Regarding Alice and Ethel Bennetto

  • Via National Library of Australia’s Trove.
    Advertiser (SA) 29 Nov 1923, P11
  • Andrew Pike and Ross Cooper (1980) Australian Film, 1900-1977. Oxford University Press/AFI
  • Newspapers.com
    The Honolulu Republican 1 Oct 1901.

Regarding May, Nellie and Minnie Topping

  • Via National Library of Australia’s Trove.
    The Herald (Vic) 16 Mar 1899, P1
    The Australian Star (NSW) 3 Sept 1901, P7
    Table Talk (Vic) 16 Feb, 1905, P16
    The World’s News (NSW) 26 Oct 1907,
    Evening Telegraph (Qld) 31 Aug 1908, P4
    The Gadfly (SA) 20 Jan 1909, P8
  • Peter Downes (2002) The Pollards, A Family and its child and adult opera companies in New Zealand and Australia 1880-1910. Steele Roberts, Aotearoa

Ted McNamara (1893-1928) What Price Glory!

34 year old Ted McNamara from Australia and 26 year old Sammy Cohen from the USA seemed to be a promising comedy team, who appeared together in Raoul Walsh’s What Price Glory in 1925. 3 years later this title was used as a motto on Ted’s grave. Source PicturePlay Magazine, 1927, Via Lantern Digital Media Project.
Teddy enjoying success in the cinema. Motion Picture Magazine, July 8, 1927. Via Lantern Digital Media Project

Born September 19, 1893, in a small cottage in the Melbourne suburb of Prahran, Teddy or later just Ted (Edward Joseph) McNamara was the fourth child born to Patrick, a baker, and his wife Eliza nee Butler. He spent a large part of his childhood and adolescence on long overseas tours with Pollards Lilliputian Opera Company, developing and refining a reputation as a skilled character comedian. Two older sisters – Alice, born in 1889 and Nellie (Ellen) born in 1891, also went on the stage with Pollards.

Following 22 years on stage, Teddy enjoyed a prominent but very short Hollywood career. Over the three years 1925-1928 he appeared in a dozen films, mostly made by the Fox studio, and some of which survive today. His sudden death in early 1928 robbed Hollywood of a future film comedy partnership, as Fox had teamed him several times with Sammy Cohen, another comedian also emerging in Hollywood. The two comedians first appeared together in supporting roles in Raoul Walsh‘s film version of the popular play, What Price Glory in 1925.

Growing up with Pollards

Above: Teddy while performing in Vancouver. Vancouver Daily World, 3 Jan 1914, P11. via newspapers.com

Teddy was barely 10 years old when he joined Alice and Nellie on the SS Changsa for his first extended Pollard company tour overseas, in January 1903. Performing through Asia and then onto and across North America, this Pollard troupe did not return to Australia until April 1904. And then, after only three months at home, Teddy joined another Pollard tour, departing Australia in July 1904, without his sisters – who stayed in Melbourne, possibly to care for their ailing mother. This tour was away until February 1907, almost 30 months. The rotating program of musical comedies included HMS Pinafore, A Gaiety Girl, The Lady Slavey and the like. And of Teddy we know that while outwardly shy, he was also a joker, popular with his fellow performers and a favourite with the public.

It is tempting to judge this form of apprenticed child employment by 21st century standards – but it has no equivalent today in the economies of Western democracies. More importantly, we might wonder about the impact of these extended performance tours on the development of a young person.

Above: University of Washington, Special Collections. JWS21402. Teddie stands at the rear, clutching the pole. Taken sometime in 1905 or 1906, not all of Pollards Lilliputian Opera Company are in this shipboard photo. Used with permission

In the photograph of the 1904-7 troupe shown above, which can be enlarged at its University of Washington Library home (here), we can recognise Teddy and some of the other Pollard performers. Their experiences would end up being very mixed. A smiling 13 year old Teddy McNamara can be seen at the rear, right & holding the pole, behind Harold Fraser (later Hollywood’s Snub Pollard). Willie Thomas leans out to the left at rear. Within a few years Willie had left the stage and become a butcher. The Heintz twins, Johnny and Freddie sitting in the foreground, look bored and disengaged. Freddie later struggled to build a stage career, but Johnny gave it up and became a baker in Australia. Future Hollywood director Alf Goulding, looking very dapper in suit and cap, stands at right; Charles Pollard steadies Daphne Pollard at left. Both Alf and Daphne remained friends and would experience great success on stage and in film later in life. Leah Leichner beams with happiness in the centre front row. Three years later Arthur Pollard would send her home early from his Indian trip. After some more performances in Australia, she disappeared completely from the historical record.

Like many of the Pollards performers, Teddy saw his future in the United States and he returned again on a third Pollards North American tour departing Australia in July 1907. At the end of this tour, in early 1909, Charles Pollard announced his retirement as manager and came home with most of the company to Australia. But 16 year old Teddy joined a few of the older performers and stayed on in North America for a while. In July 1910, Teddy was performing with some of the old Pollards players in British Columbia. In 1912, Nellie Chester, Charles Pollards sister and one time partner, decided to establish a new company, now with adolescents (as required by the new Australian Emigration laws prohibiting children from travelling outside Australia to perform). Both Teddy and Nellie joined up again. Their mother had died in 1904. It seems sister Alice dutifully kept house for her father in Melbourne, and became a seamstress.

pollards-in-vancouver-1913  Teddie and Queenie Williams in 1916

Teddy McNamara as a featured player with Nellie Chester’s final Pollard troupe in North America. Note that the word “Lilliputian” was no longer used in the company title. Left – Vancouver Daily World 23 May 1913. Right – Teddy with Queenie Williams – Marysville Daily 27 Jan 1916. Via California Digital Newspaper Collection.

Pattie (later Patsy) Hill back in Australia. The Call, (WA) 22 July 1927. Via National Library of Australia’s Trove

In 1912 there was a new repertoire of musicals to take on tour across Canada and the western USA – including Sergeant Brue, The Toymaker and later the company’s own original, Married by Wireless. The company was active touring North American cities, on and off, until about 1919, by which time the remaining performers had gone their separate ways. Not surprisingly, in the hot-house environment of a touring company, romances between these young Australian actors had blossomed. Star performer Queenie Williams married Ernest, one of company manager Nellie Chester’s sons. And in November 1913, while in Edmonton, Canada, Teddy married fellow Melbourne performer Pattie Hill (Phyllis Esther Pattie Hill). In 1914, a daughter was born of the union. Sadly, neither marriage lasted very long. Pattie and her daughter returned to Melbourne in 1915 – a divorce was granted in Australia ten years later. Pattie insisted Teddy had promised to regularly send money and follow her home when he could finish his commitments, but never did.

In the US and Canada, Teddy’s reputation as a clever comedian grew with these performance tours. A lengthy interview in The San Francisco Call of 1906 revealed Teddy as a shy and reluctant interviewee, alongside Daphne Pollard, the skilled self-promoter. But reviews of his performances were universally enthusiastic and became more effusive over the years. 19 year old Teddy had “few peers as a character comedian” reported The Vancouver Daily World in September 1912. By July 1916, The Victoria Daily Times predicted that he would “soon have his name written among the few strikingly clever comedians.” Indeed, it might really have been so.

By the early 1920s Teddy was based in New York. He was now a headline act and he continued to gain roles in variety and a range of musical comedies across the US. In private life he had a new partner, also an actor, and in 1923, a new baby daughter.

Ted McNamara headlines in Battling Butler on the Keith circuit. Evening Star, Washington DC, 27 December, 1925. Via Newspapers.com

To Hollywood

kiper-gives-the-flagg-the-bird lipinsky-denies-all-knowledge

Screen grabs of Ted McNamara and Sammy Cohen on the screen – in Fox’s What Price Glory, 1926. The film is still widely available on DVD. Author’s Collection.

Now known as Ted, he was cast as part of the comic relief in Raoul Walsh‘s filmed version of the popular play What Price Glory in early 1926. (His first film had been Shore Leave, a romance). What Price Glory, a First World War Army – buddy film and a vehicle for Victor McLaglen and Edmund Lowe, was to be Ted’s breakthrough role. Using some easily recognised ethnic stereotypes, his was a supporting role as Irish-American soldier Private Kiper, alongside Sammy Cohen playing the Jewish-American Private Lipinsky. The story goes that Walsh had seen Ted on stage in New York and offered him the part. That is likely, as Ted had completed a long run of Battling Butler at the Selwyn and later Times Square Theatre in New York.

Ted and Sammy Cohen in What Price Glory. Dolores del Rio plays Charmaine tending the bar. Exhibitors Herald, 27 November 1926, P24, via Lantern Digital Media Project.

Seen today, the male stereotypes in What Price Glory appear well-worn at best, but the film was well received at the time and Ted must have been pleased with his work and the change of direction it represented. In his survey of military comedy films, Hal Erickson notes that Fox promoted the two comedians based on the film’s success, and as a response to MGM’s comedy team of Karl Dane and George K Arthur. The partnership was repeated several times, including in 1927’s The Gay Retreat, another film set against World War One, where Sammy Nosenbloom (Cohan) and Ted McHiggins (Ted) join the army to look after their employer.

Ted McNamara and Sammy Cohen in Upstream. Screen grabs from a copy on YouTube.

This writer’s favourite of the surviving Ted McNamara films is John Ford‘s 1927 film Upstream, a copy of which was found in New Zealand in 2009. Set in a theatrical boarding house, Ted McNamara and Sammy Cohen play Callahan and Callahan, two tap dancers, secondary comedic characters. The plot is slight and John Ford purists are unlikely to find much to enjoy in it, but it is one of those silent films that has stood the test of time – with every scene containing some sort of industry in – joke and Ford’s skill as a director already evident. Ted’s skills as a comic are also well displayed here.

Ted McNamara’s final film, Why Sailors Go Wrong, was about two rival cabbies who end up on the tropical island of Pongo-Pongo, again with Sammy Cohen as a foil. The film is a reminder of the very ordinary standard of some film comedies of the day, with its slender plot and “low comedy” situations – including sea-sickness, arranged marriages to unattractive island women, implied nudity and jokes about bird droppings. Within a few years, the Hayes office had been established to rid Hollywood of this sort of unrefined fare.

Ted died in February 1928, before the film was released. The stated cause of death was pneumonia, but as film historian Thomas Reeder notes, film gossip was that alcohol also played a part. Reeder quotes Ted’s contemporary Jimmy Starr as saying “Ted was pretty much of a drunk. Success had merely provided him with more money for booze.” Starr recalled that on a rainy night a drunken Ted had fallen into a gutter. “He just lay there.” Ted’s fondness for drink was also noted by Pattie Hill, who repeatedly mentioned his excessive drinking in her divorce petition.

According to newspaper accounts, Ted McNamara was farewelled at his funeral by many of his old Pollard colleagues – including Daphne Pollard, Alf Goulding and Billy Bevan, a testimony to his popularity with the company. What Price Glory was chosen as a motto for Ted’s monument at the Calvary Cemetery in California.

Sammy Cohen continued appearing in films, although he never established an effective comedy partnership again. Pattie Hill became Patsie Hill in Australia, married baritone Vernon Sellars and enjoyed a very long association with Australian theatre and radio.

Note 1
Nellie McNamara had a lengthy stage career of her own. In addition to travelling with Alice on Pollard tours in 1901-2 and 1903-4, Nellie also trained as a contralto and performed on the stage in Australia between 1909 and 1912, with significant acclaim, using the stage name Nellie Mond. The Victorian Premier Mr Murray heard her sing in April 1910, and declared he was quite sure that if given the chance, “she would distinguish herself and charm the public.” She did charm the public for several years, but in mid 1912 she threw it all away to join Teddy again, and Nellie Chester’s final Pollard tour of the US.

Years later Nellie explained to Everyone’s magazine that while a singer in Melbourne, her teacher had taken her to meet Madame Melba, who “nearly scared me out of my wits. She said ‘The voice is all right but for heaven’s sake, make her get rid of that awful Australian accent.’ ” As well as revealing a sharp wit, this anecdote appears to explain why she did not pursue a career as a classical singer. She married US vaudevillian Don Clinton and in 1920 returned to Australia to perform with him on Harry Clay’s circuit.

Unfortunately, the author has yet to find a clear photo of Nellie.

Nick Murphy
August 2020

Further Reading

Text

  • 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” No 69, 2017. Johns Hopkins University Press.
  • Gillian Arrighi, National Library of Australia. Child Stars of the Stage. 
  • Patricia Erens (1984) The Jew in American Cinema. Indiana University Press
  • Hal Erickson (2012) Military Comedy Films: A Critical Survey and Filmography of Hollywood Releases Since 1918. McFarland
  • Thomas Reeder (2017) Mr. Suicide: Henry Pathé Lehrman and The Birth of Silent Comedy. Bear Manor Media

Films

Federal Register of Legislation (Australia)

University of Washington, Special Collections.
Sayre (J. Willis) Collection of Theatrical Photographs.
This invaluable resource contains numerous photos of the Pollard’s Troupes.

The Australian Variety Theatre Archive: Popular Culture Archive, 1850-1930. Clay Djubal and others

Lantern Digital Media Project

  • Fox Folks, 1926.
  • Picture Play, 1927
  • Motion Picture, July 8, 1927

National Library of Australia’s Trove

  • The Age (Melb) 19 April 1910
  • The Prahran Telegraph (Melb) 26 Oct 1912
  • The Age (Melb) 10 Jan 1914
  • The Bulletin (Aust) Vol. 41 No. 2083 (15 Jan 1920)
  • Everyone’s (Aust) 10 March, 1920
  • The Journal (SA) 8 Jan 1921
  • The Telegraph (Qld) 11 May 1926
  • The Call, (WA) 22 July 1927
  • Saturday Journal (SA) 14 Jan, 1928
  • The Daily News (WA) 23 Mar 1928

Newspapers.com

  • The Oregon Daily Journal, 30 Jan 1904.
  • The San Francisco Call, Sun, Mar 4, 1906
  • The Vancouver Daily World, 21 September 1912.
  • Vancouver Daily World,  23 May 1913
  • The Evening Times Star and Alameda Daily Argus (CA), 10 Feb 1914
  • Spokane Chronicle (WA) 18 Sept 1914
  • Marysville Daily Appeal, (CA), 27 Jan, 1916.
  • The Victoria Daily Times, 27 July 1916
  • Spokane Chronicle (WA) 27 Sept 1917
  • Star Tribune (Minneapolis) 21 May 1922
  • Daily News (New York) 15 Sept 1925
  • Evening Star, Washington DC, 27 December, 1925.

This site has been selected for archiving and preservation in the National Library of Australia’s Pandora archive

Queenie Williams (1896-1962) & the last Pollard’s tour of America

Above: “Queenie” Ina Williams at the height of her success in the US with Pollard’s Juvenile Opera Company, c 1917. Cover for the sheet music – Kind Treatment by Tom Pitts. Author’s Collection
The 5 second version
Alfreda Ina Williams was born in Footscray, a western suburb of Melbourne, Australia on 17 November 1896. Following several years on stage in Australia as a child actor, she went on to have a significant stage career in North America. She first arrived in the US in 1912 with the last Pollard’s troupe, but separated from them in 1919, when the Pollard activities came to an end. She then worked in vaudeville, mostly in cities of the US east coast. She retired in 1932 and died in Los Angeles on 9 June 1962.

At the age of 10, “Queenie” Ina Williams was already a popular stage performer in Melbourne Australia. The oldest of four children, she was born Alfreda Ina Williams in 1896 to jockey Frank (Ferdinando) Williams and his wife Annie nee Armstrong. As she explained many years later, she was “puny” as a child, and a Melbourne specialist recommended “calisthenic” dancing as a means to building up her physical strength. She took to it readily, although as an adult was a little under 5 foot (152 cm) tall. A pupil of a well known dance school run by Mrs William Green and Miss Florrie Green in Melbourne, she gained a role in the melodrama The Fatal Wedding. In one scene she famously led a children’s “Tin Can Band,” with a kerosene tin drum. A cautious reviewer (presumably in view of her age) at “Melbourne Punch”  wrote “combined with her very clever acting and singing, this child is an excellent dancer. She has been a pupil of Mrs. Green for four years, and she predicts a great future for this little artist.”  The play toured Australian cities – she was in Western Australia when her mother died in December 1906. Such were the expectations of the child performer of the time, she could not leave. She went on to appear in other touring productions, including The Little Breadwinner, with Beatrice Holloway.

Queenie Williams SLVTin Can Band022

Above Left: Queenie Ina Williams in The Fatal Wedding. State Library of Victoria Collection. At right, Queenie, centre with cast. Postcard in the Author’s Collection. She was 10 at the time, but short and and underweight as the photos show.

Sometime in mid 1912, Nellie Chester (formerly Pollard) decided it would be a good idea to take another group of young Australian performers to North America. She had worked the US-Canada route with several “lilliputian” (underage) troupes over the previous decade, in collaboration with her older brother Charles Pollard. A number of talented young Australians got their start this way and by 1912,  some were already at work in the US – Daphne Pollard, Alf Goulding and Harold Fraser (“Snub Pollard”) amongst them.

Nellie Chester brought many familiar faces back for the 1912 US Canada tour, and some new ones. Old favourites Teddy McNamara, William and May Pollard were amongst the best known performers – while newcomers included “Queenie” Williams and Billy Bevan. But the new Australian legislation that followed Arthur Hayden Pollard’s disastrous tour of India in 1909-10 required all performers leaving Australia to be aged over 18 years of age for females or 16 for males. Six of the troupe’s girls were underage – Queenie (16), Ivy Moore (16), Patsie Hill (16), Ethel Naylor (16), Jessica Braydon (17) and Daisy Wilson (16). It is hard to believe Nellie Chester was not aware she was breaking the law.

The SS Makura arrived in Vancouver in late August 1912, and newspaper reviews show the company followed Pollard’s well-travelled performance route across Canada and up and down the US west coast. Performing familiar musicals – The Mikado and The Belle of New York, they also added Sergeant Brue, The Toy Maker and La Belle Butterfly to their repertoire. Not surprisingly, the cities the troupe visited welcomed a return of the “Pollard Juvenile Opera Company”. Nellie Chester may have hoped that Queenie could take the place of Daphne Pollard, who had last performed with Pollard’s five years earlier. On the troupe’s arrival in Honolulu, Pollard’s publicity announced Queenie was their “rising star”. Daphne had been a major draw-card until her departure in 1907 and now had a significant profile of her own. Queenie was similarly charismatic onstage, and resembled Daphne – also being short and slight .

Queenie in 1914 while in Los Angeles  Pollards in VAncouver 1913  Queenie Hanford Journal (Daily) 3 December 1915

Left: “Queenie” Ina Williams in the “Los Angeles Herald”, 17 February 1914. She was 18 years old.
Centre: Pollard’s advertisement in the “Vancouver Daily World”  23 May 1913. Eva, Willie and Teddy had all previously travelled to the US before with a Pollard troupe. Note the variation in the troupe’s name – one of many.
Right: Top to bottom – Daisy Wilson, May Pollard and Queenie Williams. “The Hanford Sentinel” 3 December 1915. Via Newspapers.com.

Over the next eighteen months, as the troupe travelled the US and Canada, the members clearly changed, and the “brilliant chorus of 40” reduced to about 20. William “Billy” Bevan left sometime towards the end of 1913, and joined Alf Goulding and Daphne Pollard in their own stage show in California. But others joined up, including Pollard regular Freddie Heintz.

In October 1913 the troupe travelled to Alaska, a first for the company, and finally, in February 1915, they arrived in New York and performed there for a few months – 15 years after the city had first been mooted as a destination for a Pollard troupe. The “Gerry Society” had successfully kept previous Pollard under-age troupes away from the US east coast (See Note 1). And another event of significance occurred for Queenie. In November 1914 she married Ernest Chester, the son of Nellie Chester and one of the troupe’s managers.

Pollards Spokane Chronicle Dec 23 1913

Above: “Spokane Chronicle”. 23 December 1913. Nellie Chester is almost certainly the conservatively dressed woman in black at the centre of the rear row. Ina may be third from the right in the front row.

By 1916, the Pollard’s troupe were probably well aware that vaudeville was under siege from the booming film industry, although movie shorts were already being incorporated into vaudeville programs. Late in 1916, the company launched their own new spectacular musical “playlet” Married Via Wireless, that more than challenged available film fare, relied on a smaller cast and was apparently easily portable. For two years the production, with its impressive “behind the scenes maze of machinery… responsible for passing ships, a blinking lighthouse, (and) a murderous submarine at its work of destruction,”  toured the US and Canada. Ernest Chester was credited with the scenery design. The very slight plot related to “the romance of the wireless operator and the daughter of the ship”.

Wisconsin State Journal 30 Jan 1919

Above: The Orpheum circuit advertises Married by Wireless as a major feature of its program, in the “Wisconsin State Journal”, January 30, 1919. Note the other offerings – which included comedians, song and dance routines and short films. Via Newspapers.com.

By mid 1919, Married Via Wireless had run its course, and apparently so had Queenie and Ernest’s marriage. Queenie left Pollard’s altogether, indeed this production seems to have been the end of the troupe’s activities. Queenie now used her real name, Ina, a name more suited to a twenty-four year old. She also found new roles in vaudeville – particularly in cities of the US east coast, including Midnight Rounders with Eddie Cantor, which for a short time placed her as a supporting player alongside Madelon La Varre, the daughter of Melbourne-born dancer Saharet.

Ina made the long trip home to Australia to see her family in 1922, and expressed a desire at the time to enter the movies, but was back at work in US vaudeville by September. Now often specializing in routines with just one other comedian; Dick Keene, Hal Skelly, Johnny Dooley and Jere Delaney were amongst her vaudeville partners over the next ten years. She also appeared with fellow Australia Leon Errol. In reviewing her performance with Skelly in Vancouver, one paper described her as “the little dynamo of pep… Their droll remarks and eccentric dance steps keep (the laughter) running throughout their performance.”

Theatre magazine 1924 enlarged Daily News 1924 Leon Errol 1927 Yours Truly

Left: Ina and Johnny Dooley in Keep Kool, “Theatre Magazine” August 1924. Via Hathitrust.org. Centre: Ina explains her childhood start as a dancer. “Daily News” (New York) 28 June 1924. Via Newspapers.com. Right: Ina as a supporting actor to Leon Errol in Yours Truly “Pittsburgh Daily Post”, 9 January 1927. Via Newspapers.com

Interviewed in 1943, Ina acknowledged she knew that with the coming of sound film – the writing was on the wall for vaudeville. She retired in 1932, after twenty solid years of comedy, song and dance on the North American stage. In that year, the last of the US theatres that once hosted vaudeville programs were being converted to sound cinemas. The ever astute Daphne Pollard had made the leap across to film in 1927.

Ina in 1943

Above: Ina Williams being interviewed at home in 1943. Asbury Park Press, 24 Jan 1943. Via Newspapers.com

In July 1923, Ina married Charles Stecher, a consulting engineer, who had nothing to do with the theatre. A daughter was born of the union in 1925. Ina died in Los Angeles on 9 June 1962.

Note 1
In the late 1920s, Ina acknowledged the difficulty the “Gerry Society,” (the New York Society for the Prevention of Cruelty to Children), had created for Pollard’s. She stated that they had barred her from performing in New York because they discovered she was underage, although she did not give a date for this. (See the Cincinnatti Post, 30 November 1930)

Note 2
Freddie in 1922Not all of the performers in this final “adult” Pollard troupe enjoyed the success in the US that Ina did. Arriving in the US in 1914, Freddie Heintz struggled to find an ongoing career – renaming himself Freddie Garland (doubtless dropping his German surname because of the war) and then Freddie Steele. He crossed the border to join the Canadian Army in 1918 and was briefly married in the 1920s. He ended his days working as a handyman in Freeport, New York. His twin brother Johnnie Heintz would have no more of the life of the travelling performer – he stayed at home and became a pastry chef in Adelaide. An older brother who had also once been a performer for Pollard’s, Oscar Heintz, moved to Portland, Oregan in about 1910 and became a manager for Neon Manufacturing.

Above: A report of Freddie visiting his brother Oscar in The Oregonian (Portland Oregan), 25 July, 1922. Via Newspapers.com

Nick Murphy
April 2020

Special Thanks
to Jean Ritsema, for sourcing so much from US archives. 

Further Reading

Text

  • 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” No 69, 2017. John Hopkins University Press.
  • Gillian Arrighi National Library of Australia. Child Stars of the Stage. 
  • Louis Botto (2002) Playbill. 100 Years of Broadway shows, stories and stars. Applause Theatre and Cinema Books
  • Peter Downes (2002) The Pollards, a family and its child and adult opera companies in New Zealand and Australia, 1880-1910. Steele Roberts, New Zealand.
    [Note- Downes’ book only documents the Tom Pollard branch of the family business in Australia and New Zealand]

Federal Register of Legislation (Australia)

National Library of Australia Trove.

  • Table Talk (Melb)  26 Mar 1908
  • The Herald (Melb) 26 Aug 1922
  • The Daily Mail (Bris) 3 Sep 1922

Newspapers.com

  • Honolulu Star Bulletin 23 July 1912. Pollards bring a future star
  • The Victoria Daily Times (Victoria BC), 20 Aug, 1912. Pollard Kiddies arrive from South
  • Spokane Chronicle, 11 Nov 1914. Queenie Williams marries Chester
  • Daily Arkansas Gazette, 29 March 1919.
  • Times Union (New York) 13 July 1919. Page 4. With Cantor and La Varre
  • Boston Post. Dec 29, 1920. Wears ring she bought herself.
  • Los Angeles Express. April 20, 1922. Modern Damon and Pythias role
  • Vancouver Daily World 27 March 1923. Long and Short of it coming to Orpheum
  • Daily News (New York) · 29 Jun 1924. He Ill Health to thank…
  • Asbury Park Press, 24 Jan 1943. Ina Williams, Cast as Avon housewife – she loves it.

Stars of Old Fitzroy

The inner Melbourne suburb of Fitzroy, looking north from St. Vincent’s hospital. Gertrude Street can be seen in the foreground. Author’s Collection.

Fitzroy stars 4

Although much of the suburb of Fitzroy has been redeveloped, many of the homes of the actors featured on this site still exist. The Melbourne online encyclopedia reminds us that Fitzroy was amongst the city’s first suburbs, land being auctioned in the area as early as 1839. So this concentration of creative personalities is not all that surprising. It was a small area with great contrasts in wealth, education and opportunity.

A: Mary Maguire (1919-1974)

Born Ellen Theresa Maguire in 1919 in South Melbourne, “Peggy” later “Mary” Maguire was the daughter of well-known Melbourne publicans. The Academy of Mary Immaculate educated all the five Maguire girls until the family moved to Brisbane c 1932. Her overly ambitious parents ended up taking her on to Hollywood and then England in pursuit of a film career.

Her aunts and uncles ran numerous Melbourne hotels while her grandparents lived in the inner east of the city – Richmond and Hawthorn.

Maguire-enrolment-1

A school enrolment from another era! Peggy Maguire’s (spelled McGuire) enrolment record at the Academy of Mary Immaculate in 1923. Her pet name was good enough apparently, plus father’s name and his hotel in Bourke Street! How different to the 21st Century. Courtesy Academy of Mary Immaculate.

B: Maie Saqui (1879-1907)

May Saqui was born at 120 Nicholson Street, Fitzroy (a building that still stands) in 1879. She was the daughter of well known Melbourne bookmaker and property developer John I Saqui. After some success in Australia, in 1897 she travelled alone to London where she developed a successful career, appearing as a very young “Gaiety Girl” in the George Edwards company in London. Maie’s sisters Gladys and Hazel also had careers on stage.

120 and 122 Nicholson St

Both buildings at 120 and 122 Nicholson street, still private residences, were owned at various times by the Saqui family.

C: Saharet (1878-1964)

Paulina Clarissa Molony was born in Rowena Parade, Richmond in 1878 and grew up in a number of inner Melbourne locations, including the notorious Little Lon area of central Melbourne. In 1881, her mother gave birth to her sister Julia (Millicent) at 168 Nicholson Street, Fitzroy. A building in Nicholson Street still stands at that address. Performing in the US and Europe as Saharet, Paulina Clarissa became one of the most celebrated dancers of the late nineteenth and early twentieth centuries.

Boarding House Nicholson St Fitzroy

168 Nicholson street, Fitzroy was possibly a boarding house in 1881. The current building, in the centre of the photo may also have been built after Saharet’s sister’s birth. However, the site is one of few surviving links to Saharet in Melbourne.

D: Harry Allen (1877-1951)

Born at 2 Barkly St, Carlton, Melbourne, in 1877. Henry “Harry” Radford Allen worked hard to establish himself in Australia. He moved to New York and after performing there with some success, found himself in film. In the later part of his career he was working in Hollywood, taking on minor supporting and often un-credited roles, generally as a cockney cabman, a doorman, a butler or similar. Harry had at least 100 film credits of this type.

Possibly No 2 Barkley St Carlton

Although many of the small cottages in this area have been demolished, it is possible his birthplace was similar to this one, a cottage surviving as part of a tyre business on the corner of Barkly St and Johnston St in Carlton.

E: Daphne Pollard (Daphne Trott)(1891-1978)

Born at 56 Kerr St, Fitzroy, Victoria, in 1891 (in a building that survives).
The Trott family (father Walter was a French Polisher) also lived at 96 King William St, Fitzroy c1903-5 (The 5 room dwelling was demolished by 1960)

Daphne was active with Pollards Lilliputian Opera Company from 1898-1907, then on stage in the US and UK, then in Hollywood 1927-1935, appearing in about 60 films. Her sister Ivy Trott (1887-1984 ) also joined several Pollard performance tours.

54-56 Kerr St Fitzroy

Above: The former Trott home at 56 Kerr Street, Fitzroy, where Daphne was born, is the left of the single story pair of cottages, and is still a private residence.

F: Alf Goulding (1885-1972) & Irene Goulding (1888-1987)

Alf Goulding was born in Richmond on 26 January 1885, while Irene was born in Collingwood in 1888, (both houses have been demolished)

Alf’s family, with sibling Frank (junior)(1883-1897) lived at 431 George St Fitzroy at the time of mother Maggie’s sudden death in 1895.
Alf’s father Frank Goulding, an actor and part time bootmaker, then lived in a number of modest houses in Fitzroy in the early C20th – at 49 King William Street in 1914 (building survives), at 235 Fitzroy St in 1919 (demolished) and at 25 Hanover Street by 1931 (also demolished).

431-george-st

Above: The white terrace was the Goulding home at 432 George St, Fitzroy, when Maggie died in 1895.

All three Goulding children joined Pollards Lilliputian Opera tours in the late 1890s. Alf did 6 tours between 1896 and 1909, increasingly taking on stage management. Irene did 3 tours while Frank only 1- he died of Smallpox while touring in India in 1897. Alf went on to a long career as a director in Hollywood.

G: Oscar (1891-1939) Freddie (1895-1949) & Johnnie (1895-1945) Heintz

All three Heintz boys joined tours of the Pollard Lilliputian Opera Company.

Oscar Heintz was born when the family lived at 183 George St, Fitzroy on 17 March 1891
(The building survives). Twins Freddie and Johnnie Heintz were born when the family lived at 101 Argyle St, Fitzroy, on 3 December 1895. (This building also survives)

For many years the Heintz family lived at 84 Kerr St, Fitzroy. John Heintz, a baker, died in 1900. A few years later, his three boys joined the lengthy Pollard tour of Asia and North America, that departed Melbourne in July 1904 and returned home in February 1907. Although aged only 16, Oscar stayed on in the US. Freddie and Johnnie Heintz travelled again with another Pollard tour that departed later in 1907, and also another ill-fated Pollard Indian tour in 1909.

IMG_6740

Above – the former Heintz home at 84 Kerr St, Fitzroy is the cottage with the red door. It is still a private residence.

H: Florrie Forde (1876-1940)

Born 16 August 1875, in Gertrude St, Fitzroy (the exact address is not listed on her birth certificate).
The likely location is the former United Service Club Hotel on the corner of Young Street and Gertrude St, run by her father Lott Flannagan. (This building survives)
Florrie first appeared on stage in Sydney in early 1892. In 1897 she appeared in London for the first time. She became a popular favourite in British music hall, also appearing as herself in a few British films.

IMG_0229

Above: The former United Service Club Hotel.

Nick Murphy
Updated April 2021

Willie Thomas’ great adventure with Pollard’s Lilliputians

Above: Enlargement of a group photo of Pollard’s Lilliputian Opera Company in Manila, 1903. Willie Thomas is at right. Also shown – from left Teddie McNamara, Oscar Heintz, Fred Bindlass. Willie was the only one of these boys not to move to the US. Photo courtesy Australian Performing Arts Collection, Arts Centre Melbourne.
The 5 second version
Born William (Willie) Thomas in Collingwood, Victoria, Australia, 1 January 1889,
died Boulder, Western Australia, 1969. Willie Thomas was in some respects the typical performer in Pollard’s Lilliputian Opera Company. Born in working class inner Melbourne, he was picked to join at least four extended Pollard company tours of the Far East and North America, between 1901 and 1907. His sister Emma, (born Collingwood, Victoria, Australia, 12 January 1885) also performed for Pollard’s and later accompanied as a supervisor.
On leaving the company, Willie became a butcher in Sunshine, Melbourne, and later in Western Australia.

“Willie” Thomas was a child performer in Pollard’s Lilliputian Opera Company, as it toured cities in South East Asia and North America, several times, between 1901 and 1907. He is shown below with his older sister Emma Thomas, while the company was in Vancouver.

willie and may
Willie was perhaps 14 and Emma 17 when this photo was taken c1902-4. Behind him in the peaked cap is Charles Pollard, company manager. The full photo of the Pollard Company is on the Vancouver As It Was website. Used with their permission.

William Thomas was born in Collingwood in January 1889 to Ironmonger William Albert Thomas and his wife Emma, nee Stone. There were four older children – two brothers and two sisters in the family. Two other sisters died in infancy.

Much of the history of Pollard’s Lilliputian Opera Company is lost to us today and confusingly, there was more than one troupe of performers using this or a similar name in the early twentieth century.  Managed by Charles Pollard and his sister Nellie Chester, we know that they ran several extended and highly acclaimed tours to the Philippines, Japan, China and North America between 1901 and 1909 – each lasting a year or more, punctuated by a short break of a few months at home in Melbourne. This troupe is also of interest historically, because so many of its performers were from working-class inner Melbourne. And a number of its performers also went on to stay on in the US and work in Hollywood – including Alf Goulding, Harry Fraser or “Snub Pollard“, Daphne Pollard, Teddy McNamara, Fred Pollard (Fred Bindlass) and Jack Pollard (John Cherry). And the talented Willie Thomas from Collingwood worked amongst them on the three performance trips – September 1901-October 1902, January 1903-April 1904, and July 1904- February 1907.

Pollards in San Francisco Nov 16 1901 at the Tivoli Opera House,
Above: Part of the program for Pollard’s performing at the Tivoli Opera House, San Francisco on November 16, 1901. Both Willie (12) and Emma (16) have leading roles in The Belle of New York. Author’s Collection.

Historian Gillian Arrighi points out that several Australian companies employed child actors for prolonged offshore tours at this time. This practice enabled the producers to avoid contravening child labour and education laws in newly federated Australia. And apparently it was lucrative – for families and the organisers. Child performers made pocket-money selling postcards of themselves, while parents back in Australia were paid sometimes in advance or via a trust fund.

Pollards c 1903

Pollard’s Lilliputian Opera Company in costume, taken in the US about 1905. It appears to show Willie Thomas, second from right at the front, next to Daphne Pollard. The two little boys fourth and fifth from the left in the front row are Freddie and Johnnie Heintz. In the  postwar world Johnnie became a pastry cook in Adelaide. Freddie tried his luck acting again in the US. Copy of postcard courtesy Robert Maynard

The Thomas’ names are also found amongst other Pollard performers on the shipping manifests of the time. More interesting are the accounts that appeared in US and Australian papers as they travelled, that documented some of their experiences. By 1905, Willie was amongst the Company’s leading performers.

Sioux_City_Journal_Wed__May_28__1902_     San Francisco Chronicle 6 Sept 1903 cropped

Left: On his first tour of North America, Willie Thomas and three other performers had a near miss with a gas leak, according to The Sioux City Journal (Utah), May 28 1902. Via Newspapers.com .Right: A second tour, another performance. The San Francisco Chronicle, September 6, 1903, announces a new Pollard season and some of the stars – including Willie. Both these articles confirm the constant rotation of shows while on tour. Via Newspapers.com

willie Thomas4

Robert Maynard still holds the postcards, makeup box and other ephemera that belonged to his grandfather. There are also over 50 postcards that Willie collected including several from Shanghai, Japan, Suva, Canada and the United States. These are unmarked, so he apparently never posted them home, rather – keeping them as mementos of his travels. The remains of his makeup box includes fake moustaches and numerous sticks of grease paint.

Willie and Emma’s final North American tour with Pollard’s seems to have ended in early 1907, when he was 17 and she was 21 – both now too old to convincingly be presented as child actors. (Emma appears to have travelled as a non performing adult on this tour). Perhaps also, this marathon Pollard tour of 1905-1907 convinced Willie that performing on stage was not what he wanted to do.

Pollard's in Canada and the US 1905-1907

Above: Willie Thomas’ makeup box. Map – The Pollard Company’s “Grand Tour” of North America (March 1905- Jan 1907) avoided much time in the eastern USA, where child labour law made performances impossible. The troupe was in Sacramento during the April 1906 San Francisco earthquake. The map is based on Midas Martyn‘s diary. Thanks to Catherine Crocker for sharing this information. Courtesy Google Maps. Click to go to the google map – the author’s attempt to illustrate this extraordinary tour.

This writer has commented elsewhere of the controversy accompanying Pollard’s travels to the Far East and North America.  The New York Society for the Prevention of Cruelty to Children, or the “Gerry Society” kept Pollard’s away from the east coast of the US. The society’s opposition to children performing on stage was well-known. The Chicago Tribune of 19 May 1902 touched on this issue in a long article about the company during their only visit to that city; “Although the idea of keeping children on the stage is repugnant to Americans, and although it is forbidden by law in some states, the Pollards claim that their children… suffer no evil effects from the experience.” 

Whatever other reasons he had for leaving the stage, a few years on and now calling himself “William,” he had became a butcher. He was also a competent Australian Rules Football player, playing for teams in Boulder Western Australia (where he spent a few years between 1910 and 1913) and Sunshine, Victoria.

Above left: William in the Boulder City (Western Australia) Football Club in 1911, seated front left,
Above right: William seated at right with Sunshine Braybrook Football Club in 1914. Photos courtesy Robert Maynard.

Following the outbreak of war and during the surge of enlistments following the Gallipoli landings, William and his two older brothers Albert and Jack (John) joined the Australian Imperial Forces. With other soldiers of the 3rd Division AIF, they sailed on the Medic, arriving at England in July 1916. William went on to serve in France with the 29th and 30th Batteries, 8th Field Artillery Brigade. In the photo enlargement below, William is seated on the left, Albert is on the right – unusually the two brothers served together. In February-March 1918 William’s military record shows he was granted leave in England. There he saw Albert De Courville‘s latest review, Box o’ Tricks, at the London Hippodrome, featuring a very old friend, Daphne Pollard in the line-up, whom he met after the show. The conversation must have been a joyful one about show-biz;  it defies belief that William, having been under fire and in action for the last 14 months, would wish to talk about the appalling reality of trench warfare.

Above: William and Albert (enlargement)  in France c1918. Photos courtesy of Robert Maynard

Miraculously, all three Thomas brothers survived the war and returned to Australia in 1919. In the early 1920s William set up a butcher’s shop in Sunshine, a western suburb of Melbourne, in partnership with brother Albert. In 1924 he married Lizzie O’Brien and brought up a large family, at first in the house next to the shop, and later in nearby Adelaide Street. Lizzie, the “life of the party” and a favourite with all the children in the family, called him “Butcher.” Like many returned soldiers, William liked a drink, and earned a reputation for regularly being thrown out of the Sunshine pub. One can’t help wondering if the Sunshine pub became the place he liked to practise the keen sense of humour he had developed on stage with Pollard’s, years before.

William Thomas’s Butcher shop, on Hampshire Rd, Sunshine. William Thomas is proudly holding his daughter Emma, with brother Albert (second from left) and nephew William (at right) and another butcher. Before widespread refrigeration, the horse and gig was a quick and convenient way to sell and deliver meat. Photo Courtesy Robert Maynard.
Advert at right from the Sunshine Advocate, 9 June 1928, Via the National Library of Australia’s Trove.

Unfortunately, the Depression hit William’s family hard. Such businesses were used to extending credit but also dependent on a regular cash flow. A kind man (in 1924 he had paid for his nephew to travel to a scout jamboree in England) William’s generosity eventually got the better of his business in the hard times of the 1930s, and it closed down.

By 1941, the family had relocated to Boulder, Western Australia, where William, determined to make a fresh start, became a butcher again. He died there, aged 80, in 1969. Sister Emma had died in Sunshine in 1963.

A few years after Willie Thomas’ final tour, the era of the travelling troupes of Australian children came to an end. In 1909, another Pollard family member, Arthur Hayden Pollard, who had been on some of the North American trips, raised a mostly new troupe to perform in South East Asia and India. It was a disaster and amid the claims of impropriety, cruelty and underpayment, the troupe broke up in February 1910, with the children forced to find local support to make their own way home. New Federal legislation in 1910 banned Australian children travelling overseas to perform.

William kept his Pollard’s make-up box all his life, which says something about how fondly he viewed this exciting stage of his childhood. If he regretted his seven years of travel and performing, and then leaving the stage behind forever, he never said.

Emma Thomas 1950s

Above: Emma Thomas (left) in the 1950s, welcoming Mr and Mrs Pettit on a visit to Melbourne. The Pettits employed William as a butcher in Western Australia by this time. The days of Pollards Lilliputians were far behind. Photo courtesy Robert Maynard.

Note:

Emma and Willie travelled with the following Pollard Lilliputian Opera Company tours of South East Asia and North America under the leadership of Charles Pollard and Nellie Chester:

1. Departing Australia via SS Sierra 3 September 1901,
Returning to Australia via SS Aorangi 17 October 1902.

2. Departing Australia SS Chansha 18 January 1903,
Returning to Australia SS Miowera 2 April 1904.

3. Departing on a Queensland tour July – Sept 1904, then to “the far east” late September 1904, then SS Empress of India arriving Vancouver BC, March 1 1905.
Apparently returning home on the SS Moana in February 1907, an extraordinary tour of 32 months.

Another Pollards trip departed sometime in June 1907, arriving in the US on the SS Hong Kong Maru from Yokohama, Japan on Mar 3, 1908. They arrived home in Australia on RMS Makura on April 17, 1909. Emma and Willie were not on this final trip or its disastrous follow-up to India organised and led by Arthur Haydon Pollard.

Nick Murphy, Updated March 2020

Special Thanks

To Robert Maynard, William Thomas’ grandson, for so generously sharing his family history – much more than I could fit in this article.

Further Reading

Collections

  • Australian Performing Arts Collection, Arts Centre Melbourne.


Websites

National Library of Australia – Trove

“STAGELAND.” Evening News (Sydney, NSW : 1869 – 1931) 27 September 1902: 2 (EVENING NEWS SUPPLEMENT).

“Evening Entertainments.” The Telegraph (Brisbane, Qld. : 1872 – 1947) 26 July 1904: 7.

SEND-OFF TO SCOUT THOMAS (1924, May 24). Sunshine Advocate (Vic. : 1924 – 1954), p. 4.

“POLLARD’S LILLIPUTIAN OPERA COMPANY.” Leader (Melbourne, Vic. : 1862 – 1918) 2 April 1910: 23.

“THE POLLARD TROUPE.” Leader (Melbourne, Vic. : 1862 – 1918) 21 May 1910: 24. Web. 15 Oct 2018

“POLLARD OPERA COMPANY.” The Age (Melbourne, Vic. : 1854 – 1954) 22 April 1910: 8. Web. 15 Oct 2018

Daphne Pollard (1891-1978) – I had to know 36 operas!

Daphne Pollard, c 1920. Author’s Collection

The author’s more recent (2022) article on Daphne Pollard can be read here at Theatre Heritage Australia online

The 5 second version
Born Daphne Trott in Fitzroy, Victoria, Australia, 19 October 1891, she died in Los Angeles, California, USA on 22 February 1978. A child performer with the Pollard’s Lilliputian Opera Company from about 1900 to 1907, she travelled through South East Asia, Canada and the United States on at least four extended tours before becoming a very popular comedy performer on stage in the US and Britain in her own right. She was busy appearing in films in Hollywood, late in her career – 1927-36. Most of her family moved to the US with her in 1908. She never performed in Melbourne, Australia – her place of birth.

The talented actress Daphne Pollard was born Daphne Trott at 56 Kerr Street, Fitzroy, Melbourne, in October 1891 to Walter Trott and Annie nee Daniels. She was one of those rare gifts to the stage – she could sing and dance and became an expert in slapstick – the physical comedy so popular at the start of the twentieth century. Standing a little over 1.40 metres tall (or 4 foot eight and a half inches) as an adult, she was on stage from the age from an early age. She was a good-looking child performer, with great confidence for her age. She was to become the star attraction of the Pollard’s Lilliputian Opera Company, an Australian troupe (or more accurately – series of troupes) featuring talented children usually from the inner Melbourne suburbs of Fitzroy and Collingwood, who took on the adult roles in musical comedies. However, Gillian Arrighi has reminded us that the musical comedies performed by Pollard’s, such as their perennial favourite, A Gaiety Girl, were suggestive, with plots preoccupied with sexual relationships – or “playful gambolling on the verge of indecency” as Edwardian theatre critic William Archer wrote (see Arrighi p.154).

Daphne photographed in Shanghai
Photo attributed to Ying Cheong, a photographer and painter in Canton Road Shanghai, Source -National library of Australia.
Daphne_Pollard_and_Leah_Lirchner_in__The_Geisha__(SAYRE_13291)
Daphne Pollard and Leah Leichner re-creating a scene from The Geisha. Likely by Ying Cheong, Shanghai Courtesy University of Washington, Special Collections, JWS24603.

As an example, consider the lyrics of the song “Baby Baby” from The Lady Slavey:
“Lovers are silly young things you know and I am as silly as any.
I’ve worn two engagement rings you know, but two, you’ll agree are not many”

It is interesting to reflect on the impact of a childhood spent growing up “on stage” – as Daphne and some of the Pollard’s children experienced. There is little evidence to help us – although Willie Thomas’ and Leah Leichner’s stories may contain some clues. Daphne spoke briefly about the experience shortly after she married in 1911, when she told the Los Angeles Herald  “I’m off for good now; no more acting for me. I’ve had enough. Twelve years on the stage is really long enough, and It’s not my fault that I had all that twelve years before I was 20 years of age. I used to like it, of course, and when I was a kiddie and we traveled about a lot and had nice times with the other children. It was lots of fun, but for two years now I have known that this glamour was gone and I have wanted to leave.” But in spite of these sentiments, she did not leave the stage.

In time, Daphne Trott was to become an outstanding vaudevillian in her own right. The headline photo on the top of this page shows her in 1920, at the height of her popularity on the London stage. Like Harry Fraser (Snub Pollard), she took the stage name Pollard, partly as convenience but also because many of the company performers liked to maintain the pretence of belonging to a family troupe. Later in careers it was a familiar and easy remembrance of times past.

In Melbourne, Daphne Trott’s father Walter and an uncle ran a furniture upholstery and French polishing business, although the Melbourne depression of the 1890s hit the family’s fortunes hard. We don’t know what attracted Daphne to the stage – perhaps as a child she saw other well-known Fitzroy girls, like Florrie Forde, perform at the Melbourne Opera House or the Theatre Royal. Daphne joined Pollard’s troupe in about 1900, with older sisters Ivy and Myrtle. The family lived in nearby, later moving to a similarly modest dwelling at 96 King William Street, Fitzroy and finally to another cottage at 45 Westbank Terrace in Richmond.

About the time of Daphne’s departure for the US, the Trott family business operated on the corner of King William St and Brunswick St, Fitzroy (site now occupied by the orange and white supermarket in the distance). Author’s Collection. 
54-56 Kerr St Fitzroy
56 Kerr St, Fitzroy, was listed as Daphne Trott’s October 1891 birthplace and the family home for most of the 1890s. It is hard to believe this very modest single story terrace house had room for a baby and five older siblings! Only a few houses away in this street lived the Heintz family, whose twin boys Freddie and Johnnie also travelled on tour with Daphne.

In June 1900 Daphne and two older sisters Hilda and Ivy joined a Pollard Lilliputian Opera Company tour through South East Asia – Singapore, Penang, Rangoon and Calcutta. They followed this with another tour, departing in early September 1901 – this time to include Canada and the United States. 

Only a few days before Daphne’s departure on her second tour, the Trott’s much loved youngest child, four year old Wally, died as a result of typhoid fever. He had lingered in the Children’s Hospital for several weeks. (The story that he broke his neck doing somersaults on the bed on the eve of Daphne’s departure seems to be just that, another showbiz story). Although Wally’s headstone lies broken and forgotten at Kew cemetery, the surviving inscription reveals the depth of the family’s grief. It must have taken great strength for Daphne and her sisters to leave Australia. Twelve months later, in October 1902, the company arrived home, having won positive reviews up and down the North American west coast.

Wally Trott
So dearly loved, so deeply mourned.”  Wally Trott’s headstone at Kew Cemetery. Author’s Collection.

Performing for the Pollard opera companies was not for the faint-hearted. Their Australasian and overseas tours involved rigorous preparatory training and took child performers away from home for months, sometimes a year or more. The company were on yet another tour between January 1903 and April 1904.

In May 1904, before departing yet again, an effort by Ernest Wolffe, the Pollard’s ex-musical director, to entice the child performers away to form a new breakaway group, led to a messy court case in Melbourne’s Supreme Court. It also revealed some of the Company’s workings – that the parents of Pollard’s child performers would be paid via a trust fund – generally 10 shillings a month in the first 6 months, followed by £1 per month thereafter. Charles Pollard and Nellie Chester provided a tutor and paid for all the travel costs and accommodation. The child performers made pocket money by selling autographed souvenir photos after each show. Operating outside Australia, laws regarding education did not apply.

Not withstanding his offers of higher pay, Wolffe’s efforts failed. The court apparently found the children’s existing contracts with Pollard’s were still valid. Daphne and Ivy Trott resumed their arrangements with the company. Following a short season in July – September 1904, testing and refining their repertoire for Queensland audiences, the Pollard Lilliputians arrived in North America in March 1905. Their stops along the way had included 5 months performing for enthusiastic colonial audiences in the “Far East”, Hong Kong, Shanghai and Japan.

Pollard’s advertising-already picking out its most popular stars during its third tour of North America. The Calgary Herald, 3 January 1906 via Newspapers.com

One surviving photo from this tour shows some of the performers and supervising adults sitting on the steps of the Badminton hotel in Vancouver. At the front, sitting slightly apart and wearing a large hat, is young Daphne, her poise and confidence unmistakable. Her 17 year old sister Ivy, an accomplished performer who also performed on this tour, stands on the left at the back. Also in the back row stand Alf Goulding and Harry Fraser – both of whom, like Daphne, would eventually find their way to Hollywood.

Ivy and Daphne c 1905
Above:  Ivy Trott (14) and Daphne Trott or Pollard (11) in Vancouver in c1901-2. Enlarged from a group photo via Vancouver As It Was: A Photo-Historical Journey and used with their kind permission.

Program notes from performances in Montreal, Canada in 1905 reveal a typical Pollard’s schedule, which included six different popular musical comedies delivered across a week of performances – A Runaway Girl; The Belle of New York; A Gaiety Girl; The Geisha; HMS Pinafore and The Lady Slavey. It was no leisurely tour. Years later Daphne told a reporter;
“As a child actress in the Pollard Lilliputian Opera Company… I had to know thirty six operas by heart. (In) one I played the part of an old sheriff with side-whiskers, although I was only twelve at the time. One of the side-whiskers came off before the audience, but that, of course, made it all the funnier. We were all children, but we included grand opera in our repertoire.”

Part of a Pollard program from Montreal during their marathon 1904-07 North American tour. The ages are obviously wrong. Author’s Collection.

In February 1907, the Pollard marathon two + year tour finally ended, and most of the Company returned home on the SS Moana. It must have become obvious by this time that Daphne’s future was not just performing with Pollard’s. By mid-1907, Daphne and Ivy had accepted contracts with Frank W. Healy’s San Francisco Opera Company and they began performances later that year. For the next nine years Daphne performed in vaudeville throughout the United States, more or less continuously, developing her skills and attracting widespread acclaim. (Ivy married and left the stage in 1908.)

In 1908, the Trott parents and all but one of Daphne’s siblings followed her to North America, settling permanently in Seattle. It was a dramatic move, one that must have taken some deliberation by the whole family. And now, aged 19, Daphne felt more confident than ever to express her views. In April 1910 she announced that she supported a woman’s right to vote – a right enjoyed by most women in her native Australia but not yet granted to women in the United States. “Votes for Women. I’m going to march in the streets and carry a banner” she told a Seattle Star journalist. Her renown and popularity was such that she was chosen as Seattle’s first ever Queen of the Golden Potlatch Festival (now known as the Seafair Festival) the following year. Soon after, in a joyful and rather theatrical elopement, she married journalist Ellington Strother Bunch.

Above: Daphne Pollard c1915, at the time she appeared in The Passing Show of 1915. Author’s collection.

If Daphne really did intend to retire after her 1911 marriage, she changed her mind soon after. By mid – 1916, Daphne was a seasoned enough performer to know the ways audiences in different US cities responded. She was also deeply immersed in her stagecraft and most unusually for the time, she was prepared to pause and publicly reflect on it. In a lengthy expose of the art of a typical review performance, for The Green Book Magazine, she wrote;

“The principal first out does her scene, usually not an important one so early in the evening, and exits after a song or dance number, marking the time for applause. The audience speaks then, and—believe me—there is not one of us who has not learned to judge its tone…If the applause is liberal and pretty much from all parts of the house, hopes soar high…

Next out may be the second comedian. He notches up the pace, sets the whole show a pitch higher and works like a fiend, all the time trying to gauge results and get bearings… By the time the first act is on its feet, we’ve got that audience so well sized up that each of us knows to a nicety the impression he or she will make.”

Pollard
Program for Albert De Courville’s “Zig-Zag!” 1917. Author’s Collection.
Zig Zag France023
Program for De Courville’s 1917 Folies Bergere production, showing Shirley Kellogg on the cover. It also starred Daphne. The Australian war memorial holds an identical program, except with Daphne Pollard on the cover. Author’s collection.

Following the success of another review – The Passing Show of 1915 and at the height of the Great War, she traveled to London. There she appeared in a string of very popular revues at the Hippodrome for Albert De Courville. Zig-Zag! opened in January 1917 and was followed by Box o’ Tricks in 1918. (De Courville’s company also performed at the Folies-Bergere in Paris.) In 1919 she appeared in Joy Bells with another experienced Australian-born, US-based comedian, Leon Errol in the cast. In all, she spent almost ten years in London, taking a break for the birth of her only child – Ellington Walter Bunch in 1922 and several returns to New York, including one to appear in the Greenwich Village Follies in late 1923. Daphne Pollard is jointly credited as composer of several of the pieces performed in these shows. Reviews of her work continued to be enthusiastic and she easily managed both US and British cultural contexts. Friend Stan Laurel recalled one of her stage acts, as a “Cockney dame” (‘Arriet ‘Emmingway from Huntershire County “Hingland”), who struggled to manage the transition to living in the US. This character was later recycled as the theme of the short films America or Bust (1930) and Help wanted, Female (1931).

Filmstars002
London Sunday Pictorial. 25 February 1917. Daphne Pollard is in the centre. Author’s collection

By 1927 Daphne Pollard had been active on stage for thirty years, almost continuously, when Mack Sennett finally convinced her to appear in Hollywood films. Sennett had apparently made a few approaches to her earlier in her career. It’s quite likely that the astute Daphne Pollard also saw vaudeville and music theatre as under siege from the booming cinema industry, and decided to jump ship for purely practical reasons. Her surviving movies often mislead the casual reader today to think these were the sum of her working life. In fact, her 60 Hollywood films, made for Sennett and later RKO and then Universal were merely a footnote – most of them made in a period of just five years.

Sennett was a prolific producer, director and actor, who churned out over 1400 titles during his career. His fondness for slapstick and physical comedy was firmly rooted in vaudeville and of course, for him, Daphne Pollard was another actress trained in this tradition. One of Sennett’s former editors, William Hornbeck, interviewed by writer Kevin Brownlow years later, commented on how unsophisticated Sennett’s films often were, even for the time. Many of the films Daphne appeared in were made during the transition of silent to sound films, and as filmmakers like Sennett struggled to adapt to what worked in this new dimension, the humour often fell flat. And seen today, audiences may find the humour tasteless and some of the story-lines weak. The blackface ending to Two Smoked Hams (1934) and the burning building rescue in His First Flame (1935) are two obvious examples of seriously outdated humour.

DP1916
Above- Daphne Pollard as an everyday adult, on a passport application, in about 1916. Via Ancestry, via US National Archives 

Daphne Pollard’s first film for Sennett was The Girl from Everywhere (1927), a 20 minute comedy with Carole Lombard. She appeared in several more with Lombard, including Run Girl, Run and The Campus Carmen, both made in 1928. Several of these were directed by her friend and one time neighbour from inner Melbourne, and an old Pollard Lilliputian Opera associate, Alf Goulding.

As a consequence of Sennett’s prolific approach, her roles over the next few years were varied and while she sometimes appeared as one of the leading players, character roles, especially the fussy mother or the English servant, had become her stock in trade. In the otherwise dull 1930 sound musical Bright Lights, Daphne and Tom Dugan provide the comic relief playing a feuding married couple. In 1931’s The Lady Refuses she plays the eccentric maid.

Daphne sings!

This is Daphne singing a comic song about being “in the market” (meaning the stock market) in Mack Sennett’s Bulls and Bears (1930).

Here she is the drunken Aunt Agnes in Sennett’s Honeymoon Zeppelin (1930).

Only occasionally in her films do we see flashes of her skills as an extraordinarily energetic and highly experienced vaudeville performer– as when she demonstrates her admirable comic timing by snapping her teeth at Oliver Hardy in Thicker Than Water in 1935, or when she dances for the leading juveniles with such confidence and ease in Kid Dynamite made in 1943. But we can see her skills at their best when she takes the coquette role, one she had performed so often on the stage, wooing fireman “Smokey Mo” (Shemp Howard) in His First Flame, made in 1935. When she throws her handkerchief in front of him to gain his attention, and then wrestles him onto a park bench, it is a sequence straight from the vaudeville tradition. “I love you, I love you, I love you” she says aggressively, with her foot in Howard’s face.

his first flame
Above: Screen grab of Daphne Pollard and Shemp Howard in His First Flame (1935). Author’s collection. Howard’s pre-3 Stooges films are currently available to collectors on DVD.

Her well known straight role, as Oliver Hardy’s shrewish wife in the Hal Roach studio films Our Relations and Thicker than Water marked the end of her intensive Hollywood career. When she appeared in her last brief and un-credited role in Laurel and Hardy’s very silly The Dancing Masters, in 1943, she had been performing for 46 years.

She died in Los Angeles in 1978, her passing reported in the US but completely unnoticed in Australia. In time, the usual nonsense was written about her by eager fans – that she was sister of “Snub Pollard” or that her “Australian accent” got in the way of a career in sound films. Even the most perfunctory research shows neither proposition to be true.

Back home in Australia, Daphne’s older sister Hilda, having married Percy Wood, a Melbourne plumber, enjoyed a happy but childless marriage. She spent her last years living a few hundred metres from the Hoyts Merri Theatre in North Fitzroy, where presumably, she went to watch her sister’s movies. The descendants of Daphne Trott and her family now all live in the US.

Daphne Pollard the Passing Show
Above: Daphne with George Munroe in The Passing Show of 1915. The Pittsburg Press, 27 June 1915. Via Newspapers.com.

What sort of person was she? Unfortunately we only have sketchy evidence to make a conclusion. Historian Bill Egan has pointed out to this writer that Daphne led a threatened walkout when African-American performer Florence Mills shared the stage and the advertising for the Greenwich Village Follies in New York in late 1923. It is difficult to see this as anything other than professional jealousy and race prejudice, a point that was made even at the time. 

Stan Laurel’s correspondence seems to suggest she was a feisty and forceful personality. Yet we also know that she maintained an affection for all her old friends into later life. When Teddy McNamara died of pneumonia in Hollywood in 1928, she attended his funeral with all the old Pollard Company performers. Willie Thomas, another performer from Pollard’s caught up with her in London in 1918, while he was on leave from the Australian forces on the Western Front. Meeting her backstage at the London Hippodrome was, Willie always said, a joyful reunion.

Nick Murphy,
Updated June 2021

Note 1: The origin of the story that the “Emperor of China” wanted to buy her apparently has its origins in the following story. Zhang Zhidong was a high ranking Chinese official in the Qing Dynasty. The offensive comment attributed to Daphne may be true but as the contemporary journalist noted, the entire story is likely an exaggeration.

hong kong daily press daphne pollard story 1905 05 27
Hong Kong Daily Press, May 27, 1905. Via Hong Kong Public Library Multimedia System

References:

Collections

  • Australian Performing Arts Collection, Arts Centre Melbourne.
  • Public Record Office, Melbourne. Supreme Court Civil cases 1904/329 Pollard and Chester v Wolffe.

Publications

  • 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” No 69, 2017. Johns Hopkins University Press.
  • Peter Downes (2002) The Pollards, a family and its child and adult opera companies in New Zealand and Australia, 1880-1910. Steele Roberts, New Zealand.
  • Bill Egan (2004) Florence Mills : Harlem jazz queen. Scarecrow Press.
  • Kirsty Murray (2010) “India Dark.” Allen & Unwin Australia.
    See also https://insideadog.com.au/blog/incredible-india (India Dark is a fictional retelling of the disastrous Pollard tour of India in 1909 – but none of the Trott children performed in this)
  • Brent Walker (2013) “Mack Sennett’s Fun Factory: A History and Filmography of his Studio and His Keystone and Mack Sennett Comedies, with Biographies of Players and Personnel” McFarland & Co
  • Various (1888) “Victoria and its Metropolis, Past and Present. The Colony and its people in 1888.” Volume 11B. McCarron Bird and Co, Melbourne. P. 621. (See Trott family)
  • Trav S.D (Donald Travis Stewart), (2006) No Applause – Just throw Money. The book that made Vaudeville Famous. Faber and Faber, New York
  • Daphne Pollard 1916. “Rehearsing the Audience”, The Green Book magazine, Pages 737-740
  • Kevin Brownlow (1968) The Parade’s Gone By… University of California Press.
  • Angela Woollacott (2001) To Try her Fortune in London. Oxford University Press.

Websites

Original US archival documents sourced from

National Library of Australia – Trove Newspaper Collection

  • The Age, 13 July 1901, P2 Advertising.
  • The Register, 4 July 1908, “Dramatic Notes”. Page 10
  • The World’s News, 4 Dec 1920, “Daphne Pollard”. Page 5

Newspapers.com

  • The San Francisco Call, 4 March 1906, P23. “Australian children…”
  • Los Angeles Herald, 30 March 1906, P9 “Little actress has ambition…”
  • Calgary Herald (Canada) 5 Aug 1907, P5 “Daphne and Ivy back”
  • Los Angeles Herald, 2 Sept 1907. P3 “Quintette of Principals from San Francisco Opera Co…”
  • The Winnipeg Tribune (Canada) 17 Dec 1906, P8 “Music and Drama”
  • The Seattle Star, 29 April, 1910. P14 “Marion Lowe has a… talk with tiny Daphne Pollard”.
  • The Lincoln Sunday Star, 11 July 1915. P7. “In the New York Theatres”
  • The Seattle Star, 6 June 1916, P.1
  • Pittsburg Courier, 3 Nov 1923. “White actress jealous of success of Florence Mills…”

Hong Kong Public Library Multimedia System

  • Hong Kong Daily Press, May 27, 1905. “Chang Chi-Tung and Daphne Pollard”

California Digital Newspaper Collection

  • Los Angeles Herald, Volume XXXVII, Number 310, 7 August 1911

British Library Newspaper Archive

  • The Bystander, 31 January 1917. P203, “Hands across the sea”.
  • The Graphic, 10 March, 1917. P292 “Zig Zag”
  • The Illustrated Sporting and Dramatic News, 24 March 1917, P90. “Round The theatres”
  • The Sketch, 17 April 1918. P64-65. “Lost to the Grenadiers…”
  • The Era, 20 April 1921. P13. “Why I like to look ugly”
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