Daphne Pollard, an experienced performer yet only in her late twenties, on a British postcard, c1920. Author’s collection.
The talented actress Daphne Pollard was born Daphne Trott at 56 Kerr Street, Fitzroy, Melbourne, in October 1891 to Walter 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 less than 1.40 metres tall (or 4 foot eight inches as she claimed) as an adult, she was on stage from the age of six. She was a good-looking child performer, with great confidence for her age. She was to become the star attraction of the Pollard Lilliputian Opera Company, an Australian troupe (or more accurately – series of troupes) featuring talented children often from inner Melbourne suburbs, who took on the adult roles in musical comedies – Gilbert and Sullivan and other popular operettas. The extraordinary longevity and popularity of the Pollard troupes is attributable to this – the children dressed as adults were cute, they were impressively talented but they also provided wholesome family entertainment at a time when some vaudeville acts were decidedly for adults only.
Above: Cheong, Ying. Portrait of Daphne Pollard, Shanghai, China, ca. 1910. Source -National library of Australia. It is more likely the photo was taken between during one of the Pollard Company tours between 1901 and 1905 (see below).
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 large 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 that other well-known Fitzroy girl, Florrie Forde perform at the Melbourne Opera House or the Theatre Royal. Daphne joined Pollard’s troupe in about 1897, with older sisters Ivy and Myrtle, while the family lived at 96 King William Street, Fitzroy.
About the time of Daphne’s birth, 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). Their shop and probably a home behind may have looked like the building on the right. Author’s Collection.
56 Kerr St, Fitzroy, was listed as Daphne Trott’s October 1891 birthplace, although it is hard to believe this very modest single story terrace house had room for a baby and five older siblings!
In early September 1901 the Pollard Lilliputian Opera Company sailed for an extended tour of South East Asia, Canada and the United States, under the management of Charles Pollard and his sister Nellie Chester. But only a few days before Daphne’s departure, 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.
“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 a second tour between January 1903 and April 1904. In May 1904, before departing on a third extended tour, an effort by a US entrepreneur to undercut Pollard’s and entice the performers away led to a messy court case. It also revealed some of the Company’s workings – that the parents of Pollard’s child performers would be paid via a trust fund – 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.
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
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, after 5 months in “the Far East”. Their stops along the way included enthusiastic colonial audiences in Hong Kong and Shanghai. One surviving photo from this tour shows the performers and supervising adults sitting on the steps of their Vancouver hotel. At the front, sitting slightly apart and wearing a large hat, is young Daphne, her poise and confidence unmistakable. Her older sister Maud, who accompanied her, sits at the left, among the women at the back. Also in the back row stand three decidedly naughty looking boys, Alf Goulding, Harry Fraser and Teddy McNamara – all of whom, like Daphne, would eventually find their way to Hollywood.
Above: Daphne Pollard in Vancouver. Enlarged from a group photo via Vancouver As It Was: A Photo-Historical Journey
Program notes from performances in Montreal, Canada in 1905 reveal a typical Pollard’s schedule, which included six different 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 1905 Canadian tour. The ages are obviously wrong. Author’s Collection.
In April 1906, the Pollard Company’s marathon 18 month tour ended. Daphne was now 15 years old. It must have become obvious by this time that her future was not just performing with Pollard’s. Daphne and sister Ivy accepted contracts with Frank W. Healy’s San Francisco Opera Company who began performances late 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. (Sister Ivy married and left the stage.) 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 the Queen of Seattle’s first ever 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.
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.”
Left: Program for Albert De Courville’s “Zig-Zag!” 1917. Author’s Collection.
Right: Program for De Courville’s 1917 Folies Bergere production, showing Shirley Kellogg on the cover, that 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 a short return to New York 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).
Above: London Sunday Pictorial. 25 February 1917. Daphne Pollard is in the centre. Author’s collection
Above: Daphne Pollard sings “The Ragtime Germ” for De Courville’s “Zig-Zag!” in 1917. She is credited with composing this with Cass Downing and John T. Murray. (Not to be confused with a 1911 song with the same name). Her voice seems typical of British musical hall performers of the time. Author’s Collection.
Below: Daphne in costume for “The Ragtime Germ”. Source – “The Illustrated Sporting and Dramatic News,” March 24, 1917. Via British Library Newspaper Archive Project
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. Its quite likely that the astute Daphne Pollard also saw vaudeville and music theatre as under siege from the booming cinema industry, and jumped 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 storylines 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.
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.
Above- Daphne Pollard as an everyday adult, on a passport application, in about 1916. Via Ancestry, via US National Archives
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.
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.
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 uncredited 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.
What sort of person was she? Unfortunately we only have sketchy evidence to make a conclusion. Stan Laurel’s correspondence seems to suggest she was a fiesty personality. Yet we also know that she maintained an affection for all her old friends into later life. When Teddie MacNamara 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, April, updated October 2018
- 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.
- 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.
- The Australian War Memorial holds a program copy of Zig Zag, performed at the Folies-Bergere in Paris.
- Letters From Stan: The Stan Laurel Correspondence Archive Project
- Clay Djubal and others. The Australian Variety Theatre Archive: Popular Culture Archive 1850-1930.
- Tony Martin-Jones’ research on Florrie Forde. Florrie Forde: her early life, in Australia
- Willis Sayre Collection of Theatrical Photographs at the University of Washington
- The World’s News, 4 Dec 1920, “Daphne Pollard”. Page 5
- The Register, 4 July 1908, “Dramatic Notes”. Page 10
- The Seattle star, April 29, 1910 “Marion Lowe has a heart to heart talk with tiny Daphne Pollard” Page 14.