The strange story of Maie Saqui

Maie Saqui as she appeared at the height of her fame on the London stage as a “Gaiety Girl,” c 1900. Postcard in the Author’s collection.
Below – the stereotypical Edwardes chorus girl from the play A Gaiety Girl. Public domain image by Dudley Hardy, Paris, 1896 via Wikipedia Commons.

Gaietygirl1896May Vivian Saqui was born in Fitzroy, Melbourne Australia on December 19, 1879. For a short period of time she was one of London’s celebrated “Gaiety Girls”, performing in musical comedy at George Edwardes Gaiety Theatre. Her father John Isaac Saqui (also known as John I or Jack) was a bookmaker and property speculator, later to try his hand at cigar manufacturing. Her mother Esther nee Barnett (or Stella) was the daughter of the owner of a large central Melbourne grocery store. She and John I married in 1877. At the time of May’s birth, the family home was listed as living on the corner of Nicholson and Moor Streets, Fitzroy. Five years later, they lived next door. The two fine “boom era” buildings still stand, and today they speak of the opulence and confidence of the young colony. The family were wealthy enough to be advertising for servants at the time of May’s birth.

120 and 122 Nicholson St

The very grand building at left, now No 122 Nicholson street, was built in 1862 by architect John Denny. The white building next door is “Heatherleigh”, a more traditional terrace. The Sands and McDougall directories reveal that in 1880 the Saqui family lived at 122, while by 1885 they lived at No 120. These constant moves probably reflect John I’s activities as a property speculator. Photo- Author’s Collection.

Austin Saqui at BeechworthMay’s English-born grandfather, Abraham (Austin) Saqui (1834-1889) had arrived with some of the extended family in the colony of Victoria in the mid 1850s – like so many, they were attracted by the fabulous stories of easy fortunes to be made on the goldfields. A talented musician, Austin departed for Beechworth, in the centre of the Ovens Valley goldfields almost immediately. In time, he became a Melbourne hotelier, a “flamboyant bookmaker” and dabbled in owning horses. Austin’s great breakthrough came in 1869, when his horse “Warrior” won the Melbourne Cup, at odds of 20-1, winning him almost £20,000 – a fortune at the time.

Left: Newly arrived Austin Saqui making money performing at the El Dorado Hotel in June 1857. From “The Ovens and Murray Advertiser.” June 6, 1857. Source National Library of Australia’s Trove.

John I Saqui (1855-1916) thus followed his father’s footsteps as a bookmaker, and after May’s birth, fathered several more children – Barnett “Baron” Napoleon (1881-1967), Gladys Mignonett (1884-c1919) and Hazel Eileen (1887-1975). Another daughter, Phyllis, died in infancy. By the time Hazel was born at Zabulon Terrace in Drummond Street in 1887, John I was describing himself as a cigar-maker, although he was also still a bookmaker and the constant move of addresses also suggests he was still speculating on properties.

Zabulon Terrace

The spectaular Zabulon Terrace in Drummond Street, Carlton where the Saquis lived when Hazel was born in 1887. The family lived at No 22, the unaltered building on the left. But by 1890, they lived over the road at an almost identical terrace at No 27. Photo – author’s Collection.

From the late 1880s, May and sister Gladys appeared in concerts under the tutelage of a relative, well known Melbourne dance teacher Miss Julia Green. May earned a name for herself as a talented dancer before she was ten – even in 1888, Melbourne Punch noted “this little lady really deserved the encore she received” with her performance in Dance Du Nuit. The family valued music and dance, and May was also to become a talented violinist. By May 1892, at the age of only 13, she had apparently done with school and moved onstage for good, joining the cast of the Australia tour of the London Gaiety Company, in Faust up to Date, (choosing to spell her name “Maie” from this time on). This brought her into the company of numerous talented English performers – Maud Hobson and Grace Wixon amongst others. From 1893 she appeared in pantomimes including Little Red Riding Hood, Cinderella and then Djin-Djin. Perhaps the highlight was performing  in the first Melbourne run of Trilby in 1896, a play based on a new novel by George du Maurier. May’s high-kicking dance in Act 2 was particularly memorable. The anti-Semitic theme of the play (the evil manipulator of the heroine is Svengali, a archetypical Jewish villain of the Fagin, Oliver Twist type) was apparently something May could live with or was used to. 


Click to enlarge.
Left: Maie appears in the first Melbourne outing of Faust Up to Date in 1892, with some of George Edwardes’ visiting London troupe, including Maud Hobson and Grace Wixon. “Lorgnette”, Tuesday 3 May 1892. Via National Library of Australia’s Trove.
Centre: Maie performing at Melbourne’s Princess Theatre, at the age of 16. “The Australasian”, 30 March, 1895. Via National Library of Australia’s Trove.
Right: John Saqui advertising his services. (He was a little hopeful in selling his father’s “gout cure.” In 1889 Austin had taken a fatal overdose of laudanum to manage the pain of his gout) “The Sportsman,” Tuesday 9 Jan 1894. Via National Library of Australia’s Trove.

The pantomime Djin-Djin, The Japanese Bogie Man, A Fairy Tale from Old Japan, opened in Melbourne on December 26, 1895. These screen grabs are from the full program held by the State Library of Victoria – which can be viewed online. Maie Saqui is listed in the program, together with numerous other well known actors of the time, including Carrie Moore. Written by Bert Royle and J.C.Williamson, with music by Leon Caron and with strong Australian themes, the show was hugely popular and according to Ian Dicker, the audience refused to leave on the final night of the Melbourne season.

Unfortunately, at the same time her career was taking off, Australia and particularly the otherwise booming city of Melbourne had slumped into a severe depression. A number of Australian banks closed between 1890 and 1893, numerous businesses shut down and scores of land speculators were ruined. Unemployment surged while the only public works to continue was the building of Melbourne’s much needed sewerage system. It has been suggested that John I Saqui lost all his money at this time, and indeed, given his business interests, it would have been unusual if he did not take a hit of some sort. But there was another even more serious reason why his business closed.

Truth on saqui attackSome time in 1890, John I was assaulted as he arrived home to Drummond Street. (The illustration at right is from the “Truth” newspaper account some thirty years later) He was found unconscious at his front door – he had been struck on the head. It was thought this was part of an organised campaign to rob wealthy bookmakers. Although he recovered and returned to work, his mental health failed over the next six years. In August 1896 Stella took the heart-wrenching decision to have John I admitted to the Yarra Bend Asylum. He had become seriously delusional. Stella blamed his state on the old injury to his head, and a note from a doctor she consulted (still in the asylum records) seems to concur. We can imagine the anguish the tight-knit family must have felt and one wonders just how bad John had become before Stella was forced to have him hospitalised.

In May 1897, at the end of the run of Trilby, it was announced that Maie was heading to England. She travelled as a “23 year old” on the RMS Orizba.  By giving that age, there were fewer questions to answer than if acknowledging she had yet to turn 18. Good fortune and good connections were with her. Within weeks of her arrival in London she was performing, and soon had a contract with George Edwardes of the Gaiety Theatre. It was claimed Grace Wixon helped mentor her. In July 1898 Stella and her three other children set sail for England on the RMS Ormuz, while John I’s mother Julia took up residence for a time at 27 Drummond Street. (This also suggests the family had weathered the 1890s crash.)


Left: The Messenger Boy cast, half way through its 1900 run, from “The Standard,” June 14, 1900. Via Newspapers.com.
Right: Maie – about the time she arrived in London and began work for Edwardes. From “The Black & White Illustrated Budget”,1899.Via the Internet Archive.

She proved to be spectacularly successful in Edwardes’ musicals. She notably performed in The Geisha (1897), The Messenger Boy (1900) with Maud Hobson, The Toreador (1901) and Gilbert and Sullivan’s Trial by Jury (1902). Melbourne newspapers enthusiastically reported on her London performances, she was after all, a local girl. For example, on October 13 1899, “Table Talk” reported that “Miss Saqui’s… dainty dancing so delighted the patrons of ‘A Gaiety Girl’ at the Gaiety Theatre…  Some two years ago… she submitted her credentials to that excellent judge, Mr. George Edwardes, who being more than satisfied with them, secured her services for three years, and she at once stepped, or bounded, into public favour….”

Both Maie’s sisters Gladys and Hazel performed on stage for Edwardes, appearing in musicals at the Gaiety between 1902 and 1910. Gladys in particular gained publicity, partly because she was thought to closely resemble Maie.

Left: 13 year old Gladys Saqui performing on a local tour in Victoria, with Elsie Golding (Alf Goulding’s half sister). “The Bendigo Independent,” Oct 5, 1897. Via the National Library of Australia’s Trove.
Right: 18 year old Gladys Saqui – a new performer at the Gaiety Theatre, introduced to the public by “The Sketch,” December 3, 1902. Author’s collection. Copyright held by Illustrated London News Group.

In 1904 Maie married Arthur Hope Travers, a Captain in the Grenadier Guards who had seen service in the Boer War. She chose to retire from the stage. A daughter was born of the union in 1905. Sadly Maie’s health began to fade soon after. She was reported to be very ill in early 1907, and she died in March 1907, aged only 27. Travers eventually remarried and served with distinction again in the First World War. Maie’s English stage career had lasted just six years. Gladys too, had a short career on stage – less than ten years.


When their mother Stella died in England in 1946, she left an estate of £9345 to her surviving daughter, Hazel. Hazel had married British actor Nelson Keys in 1908, after her own brief experience on stage. Hazel and Nelson raised a family of five boys, most of whom entered the British film industry with great success. Hazel died in 1975.

John I Saqui died in the Yarra Bend Asylum in October 1916. He had been there for twenty years.


Notes:

  1. Her name?
    May or Mary? Her 1879 birth certificate is quite clear. She was born May and she appears as May in the birth certificates of her siblings. She chose “Maie” as a stage name.
    Similarly, Barnett was the family name of Esther (Stella) Saqui, not Barrett. Esther’s father, owner of a well known Russell Street grocery was named Barnett Barnett. He can be found in numerous mid C19th Melbourne newspaper accounts. When Barnett died in 1887, he left the bulk of his estate, including a significant property portfolio, to daughter Esther (Stella).
  2. Sarah Saqui, The Psyche
    Sarah Saqui, a sister of Maie’s grandfather, was the courtesan who entertained Alfred, the Duke of Edinburgh on the first royal visit to Australia in 1867. Writer Steve Harris specifically names Saqui as the Duke’s main Australian consort – she was also known as “the Psyche”. Contemporary papers like “The Truth” also stated this. She is reputed to have described the Duke as “the meanest man she had ever met.” The Duke’s detective John Christie alluded to the Duke’s many amorous pursuits in Melbourne’s red light district in his notes, although he did not identify Saqui by name.Sarah Saqui was apparently also a bartender and a well known singer. She married three times and may have lived out her days in the United States. We have no way of knowing whether Maie had met or even knew about her notorious relative.

 

Nick Murphy
May 2019


Further Reading

  • John Paddy Carstairs (1941) Bunch, a Biography of Nelson Keys. Hurst and Blackett
    In his biography of his father (nicknamed “Bunch”), Carstairs states that his mother’s name was Hazel Eileen nee Fuller and that she was of Irish stock.
  • Ian Dicker (1974) J.C.W. A Short Biography of James Cassius Williamson.  The Elizabeth Tudor Press
  • Black & White Illustrated Budget Magazine (1899). London, Black and White Pub. Co. Digitized by Smithsonian Libraries.
  • Steve Harris (2018) The Prince and the Assassin: Australia’s First Royal Tour and Portent of World Terror. Melbourne Books.
  • John Lahey (1993) Damn you, John Christie! State Library of Victoria.
  • J. P. Wearing (2013) The London Stage 1890-1899: A Calendar of Productions, Performers, and Personnel. Scarecrow Press.
  • J. P. Wearing (2013) The London Stage 1900-1909: A Calendar of Productions, Performers, and Personnel. Scarecrow Press.
  • Victorian Heritage Register 122 NICHOLSON STREET FITZROY, Yarra City WORLD HERITAGE ENVIRONS AREA
  • Footlights Notes 1994+ wordpress – Gladys Saqui
  • Winners of the Melbourne Cup at Races.com.au
  • Public Record Office Victoria. Mental Health Records

National Library of Australia- Trove
In addition to the newspapers hotlinked in the text, the following may be of interest:

  • “The Kyneton Observer”  THE COMPULSORY CLAUSE THE EDUCATION ACT.  26 Jun 1883. Comment: John Saqui finds himself in trouble for not sending Maie to school.
  • “The Age”  Sat 20 Jul 1895
    Comment: Stella Saqui thanks members of the public for their interest in John’s health.
  • “The Truth” The Voice behind Saqui, 10 May 1925
    Comment: A moderately accurate account of the assault on John Saqui, that appeared ten years after his death.

 

 

Maud Hobson, the gaiety girl who dreamed of Colorado

Maud Hobson c.1890-1900. A widely known “Gaiety Girl” in the George Edwardes’ Company, she was born in Melbourne in 1860. Her family moved back to England when she was an infant. She had lived in Hawaii, Colorado and London by the time she was 30. Talma Photographers, Sydney. Author’s collection. (I have taken something of a liberty with the title of this article. I only have one piece of evidence that she dreamed of Colorado.)

Born in the emerging suburb of Toorak, 5 kilometres south of Melbourne, Australia, on November 13, 1860, Jane Elizabeth Manson would eventually become one of the hugely popular English “gaiety girls” of George Edwardes‘ Gaiety Theatre Company, performing under her stage name, Maud Hobson. Tall, “stately, statuesque and classic” (by this the Brooklyn Standard Union meant she was attractive), she had earned a formidable reputation in Britain, the US and Australia by the end of the nineteenth century. And more than most of the “gaiety girls”, from the mid 1890s Maud was only too happy to speak at length to the press about anything that came to her mind – matrimony, the state of society, costumes and jewellery, and American as opposed to Australian audiences.

Her parents John Manson and Eliza nee Hollingshead, arrived (separately) in Melbourne in 1853, at the height of the Victorian gold rushes. For two Britons in their early twenties, it must have been an exciting environment of extraordinary opportunity. Many of the international arrivals of the 1850s were, like them, aged between 21 and 35. By 1858, half of the newly arrived Australian population lived in the colony of Victoria and Melbourne was the continent’s largest city. How the couple met we do not know, but they married at Melbourne’s St Peter’s Anglican Church in June 1855. John was soon to become “Head Teller” (Manager) of the Union Bank of Australia – an opportunity a young man could never hope to have achieved in London. Yet like some who did well in the booming colony, the couple returned to Britain soon after their daughter’s birth. Perhaps they had “made their pile” or possibly, they still weren’t convinced life in the young city was superior to life in Britain. Maybe John Manson was simply offered a better job back home.

bullion buying

Above: 27 year old John Manson announces the appointment of a bullion broker at the Union Bank’s Bendigo goldfields branch. The Age Saturday 9 Jan 1857. Via the National Library of Australia’s Trove.

Maud Hobson’s own account of her early childhood was – typically for an ambitious actor of the time – often short on detail. In several early interviews she suggested her parents were “just passing through” Melbourne when she was born. Later in life she embraced her Australian birth with gusto. It was claimed she was born Jennie or Jeannie, but this appears to have been a pet name used by the family.

MAud performing in 1881

Above: Maud appearing on stage before her marriage to Lieutenant Hayley in May 1881. The Era, 12 February 1881 via The British Newspaper Archive.

A popular up and coming performer in 1880, she admitted in several later press interviews that she owed some of her success to her uncle, the writer and manager of the Gaiety Theatre, John Hollingshead, who had also suggested her stage name. However, she left the stage in 1881, when she married Lieutenant Andrew Burrell Hayley, an officer of the 11th Hussars. A son, William Burrell Hayley, was born in early 1882. Soon after, Maud and little William joined Lieutenant Hayley in a new adventure – a posting to the Kingdom of Hawaii, of all places. There, Hayley took on the role of an attache to King Kalākaua. But while the last King of Hawaii received recognition for his efforts to reinvigorate Hawaiian national identity and shore up its economy, not all of the king’s European advisors were welcomed. On 31 July, 1884, The Honolulu Evening Bulletin took the unusual step of very publicly criticizing Hayley for his “lack of sobriety” and therefore his unsuitability as a Commander of the Mounted Police. He was appointed to this position anyway.


 

The Hayleys in Hawaii. Left; King Kalākaua with officers, including Lieutenant Hayley looking very splendid in white, third from the right. Via Wikimedia Commons. Right; Maud was still occasionally performing in Hawaii – The Honolulu Advertiser, 5 Jan 1886, via Newspapers.com. (click to enlarge)

In 1886, Maud returned to England, for reasons that are no longer known. Of her next few years, we only have court records to guide us, as she did not appear on stage again until mid-1889. Hayley petitioned for divorce from Maud in November 1887. He claimed Maud repeatedly committed adultery with Captain Owen Richard Armstrong, an officer in the Seaforth Highlanders. Hayley was extremely well informed about the places and dates of his wife’s adulterous behaviour, which included travel to the US and five months living “as man and wife” in Colorado. Before the court Maud and Armstrong strenuously denied the charges, but a divorce was granted in October 1888. The case was played out in newspapers in excruciating detail, although as Maud’s stage name wasn’t used, many readers may not have made the connection. The story that Maud spent the summer of 1887 in Colorado with a man she wasn’t married to would be hard to believe, if it wasn’t corroborated by records of shadowy movements that we can access today.

armstrong and maude

The faded manifest of the ship Servia, arriving in New York in June 1887. Owen R. Armstrong, Army Officer and his wife Maud(e) are listed. Via US National Archives and Records Administration, Via Ancestry.com

From mid 1889, Maud reappeared on stage in London for George Edwardes in such productions as ‘Faust Up to Date” and “Carmen Up to Data” – both burlesques with music written by Meyer Lutz. Edwardes was Hollingshead’s successor at the Gaiety Theatre at the eastern end of London’s Strand. She moved in to live with Hollingshead and his family in Kensington at about this time, continuing to enjoy her uncle’s advice and patronage.


Left: Maud – a photo taken well before 1896 (from “Around the world with a Gaiety Girl” page 100, via the Internet Archive). Centre: Maud on an undated postcard (probably about 1890). Right: Maud in The Sketch, July 21 1899. Author’s Collection.

In March 1892, Edwardes and George Musgrove arranged for a tour of some of the London Gaiety regulars, including Maud in a supporting role, to take “Faust Up to Date” on tour to Australia. The London Gaiety Burlesque Company (note how often the name changed) first performed in Melbourne in May. Four months later the company wrapped in Sydney and headed for home. It had been a success. On the eve of the show’s closing, the Sydney Referee reported “‘Faust Up to Date’ at Her Majesty’s still draws the people, fills the exchequer, and promotes hilarity.” Interestingly, Maud sought no personal publicity and made no public comments during this first trip back to the city of her birth.

1893 saw some dramatic changes. In early April the news reached her that ex-husband Andrew Burrell Hayley had died. She did not regain custody of her son from Hayley’s family, but following this event she seemed to find her voice and her place in the world. Later in the year she took a leading role as Alma Somerset in George Edwardes’ new production “A Gaiety Girl”, alongside Marie Studholme and Decima Moore. While a few reviewers felt the leading role required her to do little more than look “exceedingly handsome,” other reviewers were effusive in their praise. At the same time she wrote and appeared in a short one act sketch for the theatre, and it was performed as a matinee at the Gaiety Theatre in early July 1894. “A Successful Mission,concerns Alice Gray, a burlesque actress (played by Hobson), and John Winton, a conservative vestryman (played by George Mudie) who attempts to convince Gray to discourage his love-lorn son’s attentions – to the point of offering her money to shun him. Of course, by the end, he discovers she is an admirable philanthropist and more than honourable. “Brightly written and neatly condensed, it was amusing and effective… and acted with much spirit” reported The Illustrated Sporting and Dramatic News. One cannot help wondering whether there was a strong element of personal experience being recounted here! 

In September 1894, “A Gaiety Girl” was taken on tour. It opened in New York that month, had moved on to San Francisco and then on to Australia by June 1895. Finally, Maud Hobson freely discussed her Melbourne birth and talked at length about her time in Honolulu, with her “late husband”. One Sydney journalist described her thus; “a young lady tall and most divinely fair” She told the same journalist I, who am a native of Australia…feel that in coming to this country I am just visiting my own folks.” And she went on in this celebratory tone for the entire tour.

Gaiety Company 1895

Maud as part of a large photo spread in The Pictorial Australian, 1 April 1895, shown here with company members Cecil Hope and Harry Monkhouse. Fellow cast member Decima Moore married Cecil Hope in 1894 in New York while on tour (Hope was another former army officer whose real name was Cecil Ainslie Walker-Leigh) and like Maud and Hayley, they divorced a few years later. Monkhouse died in 1900, after being declared bankrupt. Via National Library of Australia’s Trove.

While she was in Australia (and two years after Hayley’s death), a convoluted account of Maud’s relationship with Captain Armstrong appeared in some western US papers. This suggested that she had divorced Hayley herself, first, in the US, on the grounds of cruelty, and then had married Armstrong, only to find these arrangements were not recognised in the UK. Someone very well acquainted with her circumstances had written or provided the story. This writer cannot find the story in any Colorado papers, but more than thirty syndicated papers in nearby Kansas carried it. Following this brief outing, the story disappeared.

At the end of October 1895, the company departed Australia for England. The rather underwhelming 1896 travel book, “Round the World with A Gaiety Girl,” documents the successful trip.

Maud Hobson was now established as a leading regular in the Edwardes’ company. In August 1897 she appeared in the musical “In Town.”  She again joined the troupe travelling to the US in September 1897, where “In Town” ran at New York’s Knickerbocker Theatre, in company with another very young Australian – Norma Whalley .

Left: “In Town” At New York’s Knickerbocker Theatre.  The Sun, (New York)  September 11, 1897. Right; “In Town” at the Garrick Theatre a month earlier in August 1897, with an almost identical cast.  The Era, August 14, 1897. Via Newspapers.com.

Maud was now approaching 40, but she was regularly referred to as the “reigning English beauty”.  In 1900 she appeared in London as Lady Punchestown in the musical “The Messenger Boy.” The cast also included another young Australian, 21 year-old Maie Saqui from Melbourne. She must have felt some degree of national consciousness as she also appeared in a patriotic sketch with Maie and other Australian favourites in June, entitled “Australia’s tribute to Britannia” (in aid of widows and orphans of Australians and New Zealanders who had fallen in the Boer War).

By 1902 she was at a highpoint in her career – light comedy and musicals had become her forte. That year she played Lady St. Mallory in “Three Little Maids”She travelled to perform in the US again, and briefly to South Africa. After a “serious operation,” Maud travelled again to Australia in 1904 with another Edwardes’ Gaiety troupe. She was extremely popular in Australia, and she knew it. A journalist for a newspaper in Kalgoorlie, Western Australia, put a typically Australian voice to this popularity when he wroteMaud is the biggest-hearted woman the stage has ever known. Last time she was here she sold some of her magnificent emeralds to pay doctor’s bills for a girl member of the Company, and more of ’em to pay the hotel bill of a now- dead fascinating man member. You never heard of a woman speaking ill of Maud. That’s the record!” 

Maud 1904

Maud Hobson during her final 1904 tour of Australia. The Australasian, Sat 14 May 1904 via National library of Australia, Trove. 

She spoke at length about herself and her career during this visit. She admitted to a nervous disposition, a condition she said had seen her spend much of 1903 resting. But she also spoke of her future, and mentioned her fiance who had an American ranch and was a minor cattle king. It was again, a successful tour.

1905 was her last year of activity on the stage – she took on a role in the popular musical Lady Madcap, in company with Zena Dare, Gabrielle Ray and Marie Studholme. Over the next few years she travelled to the US again but there were now stories of serious ill health. After what some papers reported was “a lingering illness,” she died in London on January 6, 1913. Maud Hobson was remembered fondly in British, US and Australian newspapers. The Era stated she had “a handsome appearance… amiable personality and was an intelligent and agreeable actress.”

Its notable that Maud’s acknowledgement of being born in Melbourne occurred later in life, when she was well established and a contemporary of Nellie Melba, Nellie Stewart, Norma Whalley and Maie Saqui. It would be wrong to over-emphasize Maud as an Australian –  for other than being her place of birth, her experiences of Australia were confined to her theatrical tours. In her mind, she was almost certainly British, more than anything else. And yet, one senses she developed a fondness for Australia – she was happy to make the long trip out on three occasions. She reputedly also made friends while on her Australian tours – perhaps these were old acquaintances of her parents, from the roaring days of the Victorian gold rushes.

Maud’s son, William Burrell Hayley died in 1967, after a distinguished military career. Her uncle and mentor John Hollingshead died in 1904. The Gaiety Theatre, which had seen Maud and the other Gaiety Girls perform so often, was seriously damaged by bombs during World War Two and was finally demolished in the 1950s.

 

Nick Murphy
May 2019

 

Notes:
1. The most accurate account of Maud’s divorce is the actual petition, held by the National Archives in Britain. The Era of 28 April 1888 also provides an accurate account of her life to that time. Hayley was in the 11th Hussars (not 10th or 5th as is sometimes reported) and was not a General, even if given this title as a courtesy.

2. Was she ever known as “the White Queen” of Honolulu? There is no evidence of this other than Maud’s own words.

 

Further Reading

Text

  • Granville Bantock and Frederick G. Aflalo (1896) Round the World with a Gaiety Girl. London, J. Macqueen. Digitised by University of California Libraries
  • Boyle Lawrence (1900) Celebrities of the Stage. London, George Newnes.
    Digitised by the Public Library of India.
  • J. P. Wearing (2013 ) The London Stage 1890-1899: A Calendar of Productions, Performers, and Personnel. Scarecrow Press.

Websites

Newspaper archives

National Library of Australia – Trove

  • Australian Star, April 3, 1895. The Gaiety Girl Company
  • Australasian, September 28, 1895. Gentleman Joe at the Princess Theatre
  • Melbourne Punch, October 17, 1895. A Gaiety Girl at Home.
  • The Critic, June 15, 1904. Miss Maud Hobson at Home
  • The Sunday Times, July 3, 1904. Confidences of Stage Favourites
  • Table Talk. May 16, 1904. Miss Maud Hobson

British Library – British Newspaper Archive

  • The Era, April 28, 1888. The London Theatres
  • The Era, 11 June 1913. The Death of Miss Maud Hobson
  • Sunday Post, October 22, 1922. My Thirty years at the Gaiety

Newspapers.com

  • The Brooklyn Daily Eagle. December 26, 1894. Burlesque and Comedy
  • The Washington Times. December 16, 1894. The Theatres
  • The Pittsburg Mail. October 17, 1895. Gaiety Girl’s Life

Saharet: The Dancer from Richmond

Above: Saharet in about 1898, as she appeared on numerous postcards.

The celebrated dancer Saharet was born Paulina Clarissa Molony, on 23 March 1878, to Benjamin Robert Molony, an illiterate Irish tailor and Elizabeth (nee Foon), a 19-year-old of part Chinese ancestry from Ballarat. She was delivered at home in Rowena Parade, in the heart of the working class Melbourne suburb of Richmond. A sister, Martha Lily, was born in 1879 and another, Julia Millicent, in 1881.


Birth Cert 1.jpgAbove: Part of Paulina Clarissa Molony’s Australian birth certificate, dated 23 March, 1878.  Via Births, Deaths & Marriages, Victoria
Transcription of Birth Certificate;
Columns
2 – 23 March 1878. Rowena Parade. Town of Richmond, County of Bourke
3 – Paulina Clarissa. Not present
4 – Female
5 – Benjamin Molony. Tailor. 25. Limerick Ireland [Father’s name, age, place of birth]
6 – March 17, 1877, Melbourne Victoria [Date of marriage]
7 – Elizabeth Molony formerly Foon, 19. Ballarat Victoria. [Mother’s name, maiden name, age, place of birth]

Paulina Clarissa (or Clarice as she preferred) made her way from the humblest of backgrounds in Richmond, to fame and fortune in Europe and the US in the early twentieth century. As Saharet, she was painted by leading European artists of the day and appeared on countless postcards, a clever and audacious dancer, and a vibrant young woman. Yet much of her life remains an enduring mystery and the few contemporary accounts of her life tend only to amplify errors made by others, such as the oft- repeated but incorrect claim she died in Melbourne in 1942. But when she lived at her home in the Michigan town of Battle Creek in the early 1960s, she left behind the key to her story. She had told friends her parents’ names; Benjamin Malony (note the variation of surname Molony) and Eveline “nee De Vere” which was at least, partly true. Her 1964 obituary in the Battle Creek Enquirer, the local newspaper, noted the day of her Australian birth, but sadly, nothing was said of her illustrious career as one the world’s leading dancers before the Great War, when she was the toast of Europe’s theatre society.

This writer believes much of the mystery surrounding Saharet’s upbringing relates to her Ballarat Chinese ancestry, something she and her mother wanted to disassociate themselves from as quickly as they could. (See Note 2 below)


Rowena Parade 2018 edited

Rowena Parade in 2018, looking West towards central Melbourne. The shop on the left was, coincidentally, built in the same year as Saharet’s birth – 1878. Author’s collection.
Boarding House Nicholson St Fitzroy  McCormack Place
Left: In November 1881, Saharet’s mother gave birth to another daughter – Julia Mallicino (Millicent), at 168 Nicholson St, Fitzroy – almost certainly a boarding house. Author’s Collection.

Right: On the birth certificate of Julia Mallicino (see Note 2 below), Saharet’s mother listed her residence as 4 McCormac Place Melbourne, then a part of the 
notorious“Little Lon” district, a “slum” neighbourhood now entirely demolished. The house would have been in the right middle distance. This then, was home for little Clarice.
This photo was taken about 1950 before the demolition by a Public Works photographer.Click on the image to go to the State Library of Victoria record. 

As an adult, she was an attractive looking woman with a powerful stage presence. Standing about medium height -168 cms tall (five foot five inches), with grey eyes and a mass of dark brown hair, she was a highly skilled and flexible dancer. “What Saharet can’t do with her legs is not worth the average mortal’s worth while trying to learn” wrote one journalist. Another journalist described her as “really an expert gymnast and contortionist. What she does is to give a wild whirling dance, in the course of which she introduces somersault splits, fabulous high kicking, cart wheels and other difficult feats … It is a marvellous exhibition of gymnastic skill, but, at the same time, the dancer is mirthful and beautiful, and the dance a delight to the eye.”

Unfortunately, a critical part of Clarice’s early story in Australia currently remains unknown. Who taught her to dance and particularly, what were the circumstances surrounding the obvious change in fortune that occurred between her birth in Melbourne in 1878 and her appearance as a dancer in the United States in 1891. We do not know how she paid her way from Melbourne to California or exactly when this occurred. Her parents had been so poor they could not afford a memorial for her sister Martha Lily when she died in early 1881, after suffering “convulsions”, probably the result of typhoid fever, then so prevalent in Melbourne.

A later British account claimed she studied under US actress Minnie Palmer, who was in Melbourne in 1886-1887. Still another account claimed she worked for three years for well-known theatrical entrepreneur Harry Rickards. The most plausible accounts suggested she appeared on stage in Melbourne, performing in the corps de ballet at the Theatre Royal, under the direction of English choreographer Marie Reddall (who worked in Australia with her husband, Actor- Director E. W. Royce between 1886 and 1892). There could be truth in all these claims.


                                          San Franciso Examiner March 1894        Los Angeles Times April 1894Garnett Journal Nov 13 1896
Left: Saharet appears in print in The San Francisco Examiner, California, March 4, 1894
Centre: Saharet, also known as Clarice Campbell, described as a “wonderfully lithe and graceful” high kicker in the Los Angeles Times, California, April 5, 1894.
Right: This November 13 1896 report in the Garnett Journal (Kansas) appears to be amongst the most accurate accounts of her early life.  Via Newspapers.com  
(Thanks to Martin Goebel)

Researcher Martin Goebel has found that as Clarice Campbell, she joined the “Liliputians,” a company performing at San Francisco’s Baldwin Theater in May 1891,  indicating a likely arrival in the US earlier that year. Over time, newspaper reports of dubious reliability appeared, recounting her early efforts to establish herself. She was only 13 and perhaps she really did appear as a dime museum fortune teller and then a mermaid, as the Detroit Free Press was to recount. However, it is well documented that by early 1894 she was using the stage name Saharet and in April she had joined M.B. Leavitt’s “Spider and Fly” vaudeville company – touring US cities. Through 1895 she was most closely associated with another popular touring vaudeville show – “The Night Owls”.


 

 


Left:Saharet’s “fabulous high kicking” can be seen here in this postcard by Reutlinger of Paris. From the Author’s collection. Right: Saharet and Ike Rose, with daughter Carrie. From an unidentified German paper.
c 1902. Rather than squandering her fortune as Rose was to claim, Saharet appears to have spent it caring for her daughter and her niece. Author’s collection.

In May 1896 18-year-old Saharet married New York entrepreneur Isaac Rosenstamm (later known as Ike Rose), while she was also three months pregnant to him. Over time, it was Rose who managed her career and passed around stories about her identity – that she was born in Melbourne – or perhaps it was Ballarat, the daughter of a well-known pastoralist (rancher). This constant narration about her all appears to be part of a concerted effort to advance her career and later, to create interest in Rose’s other professional activities, even after the couple separated. Rose appears to have written much of the commentary that was attributed to her and this, combined with the freewheeling use of different surnames by Clarice’s mother, only added to the confusion. Rose himself was creative with his own history, acknowledging his birth in Hanover, Germany in 1865 in his first US passport application, but in later documents not only anglicising his name, but also claiming to have been born in New York.

Not surprisingly, not everyone believed that the beautiful young dancer who could throw her leg over her head, do the splits, and winked cheekily to her audiences was an Australian, just because she said she was. At least some Australian journalists were suspicious, particularly as there appeared to be no family or friends back home to claim her. When renowned German singer Otto Reutter happily posed with one arm around her and the other around a bottle of Champagne in 1908, the sense of “foreignness” about her was only reinforced. Saharet had little to say herself, yet the story persisted everywhere that she was Australian – and when a British journalist writing for the London Daily Mail newspaper managed to meet her in 1898, he was left with no doubt she was an Australian, born in Melbourne. Others, including Anglo-German Count Harry Graf Kessler, who met her in about 1900, believed this too. Surviving samples of her handwriting display the confident hand of a well-educated, native English-speaker.


Saharet signature

Above: Part of Saharet’s signature. Author’s collection.
Below: Saharet appears doubled on this postcard – a not uncommon device of the time. c1905. Author’s collection.

Saharet 3


Her stage turn, often part of a varied program, appears to have lasted for less than 15 minutes, and yet she seemed to speak to audiences of a coming era of freedom and joyfulness. Like Isadora Duncan, Saharet’s style can be seen as a fore-runner in the development of the modern dance movement. This was characterised by the rejection of traditional forms of classical ballet and the embracing of new concepts in dance – to express human emotions and realism. The Austrian writer Hermynia Zur Mühlen saw Saharet perform whilst still a child. In her 1929 autobiography, she recalled “I have never again seen such natural grace and charm, the expression simultaneously, of a little wild animal and a beautifully refined woman.” The German artist Emil Nolde also recalled watching her dance, like some “primeval being.” Rose fed the story that she had been given a fortune in diamonds by European admirers, and was earning another fortune by performing. It was probably true. He also encouraged her to sit for numerous accomplished and emerging French and German artists, including Maurice Biais in about 1902, by Franz Von Stuck in 1906 and by Leo Rauth in 1911. Saharet’s relationship with Rose had drifted by 1907 and the couple separated, although Rose remained her manager for another five years and his influence on her career continued to be significant.


Photos of Saharet

Above: Saharet as she appears in the Jean Reutlinger (1891-1914) Album of various portraits. Source – Bibliothèque Nationale de France – National Library of France, Gallica -Digital collection.  via Wikipedia Commons

In fact, Saharet’s great notoriety was gained in Europe, not the US. She first appeared in theatres in the UK in 1897 and in France and Germany after 1898 where she was to become phenomenally popular. Rose also arranged for the couple to travel to Russia at least several times in the early twentieth century, where she developed a significant following. After much European travel and numerous trips to and from Europe and the US and England, she finally left Germany for the last time in late 1914, possibly as late as the outbreak of war in August. This seems to have marked the end of her European presence. Her adventures in German silent film, a career direction cut short by the war, were typical of the forays well-known stage performers made in first few decades of the twentieth century – these two reel films were something of a novelty, and the sort of publicity generating activity that stage performers might dabble in. At the time no one could guess the power narrative film would come to have a few decades later. Saharet made at least four films in Germany between 1912 and 1914 – although at the time of writing it is unknown whether any of these survive. One very early film of Saharet has miraculously survived – a hand tinted rarity made in France by pioneering director Alice Guy-Blaché in 1905. In it, Saharet dances the Bolero for just a few minutes. The film would have been shown as part of a mixed vaudeville review show, one that consisted of live acts interspersed with short films.

Watch it here

When Rose visited Australia in early 1913, promoting his other acts, Saharet’s birthplace had become Ballarat. In an oft-repeated interview about her life, Rose claimed that she had left Australia as a youngster, after some work in theatre in Melbourne. He had discovered her performing in New York in “The Night Owls”, earning a mere £7 per week. Through his influence he quickly got her £30 per week and from September 1897, an engagement in New York with Edward Rice’sFrench Maid,” which played at the Herald Square Theater.

Rose told reporters that Saharet received £750 for acting in her first German film, “In a Golden Cage,” and £1,000 for her second. But Rose had apparently advised against appearing on the screen as he felt the new medium did not suit her as a dancer. Rose claimed that her 1913 salary “was now £300 to £400 a week.” By this time he had also arranged for her to receive a percentage of the takings for her live performances.

By the time Rose was saying this in Australia, the couple were professionally and personally separated. Citing desertion and his infidelity, Saharet began proceedings against Rose in October 1912, and the divorce was finalised in 1913. Soon after, she married German-born US millionaire Fritz von Frantzius. Von Frantzius had long been an ardent admirer of hers, but their marriage was a disaster, as she abandoned him after only a few days for a new partner on stage and off – Jose Florido. She performed with Florido in the US and Britain for several years and clearly intended to marry him, but never did. Variety magazine’s 1914 review of their new act was positive and outlined exactly what her program looked like;

“Saharet has lost none of her charm, nor indeed her stage looks…Her dancing partner, Senor J. Florido, is a lithe, slender, virile Spanish youth… Saharet alone does her first number, programed as a minuette. It consists of pirouettes and posing of the old- style ballet school. It is a trifle disappointing… Florido follows with a solo dance, The Sabaje, which is strident and of toreador inception. It consists of some twists and a series of rapid stamping and taps, all on the heels. Third is a Spanish castanet dance by both, with Carmen and Toreador entrance, well done but on old style lines. Nothing sensational until the fourth and final number, Tango Argentine. Saharet and Florido’s is the genuine South American, sensuous thing… It is a violent, living, palpitant affair that earns for them the applause it richly deserves.”

But by 1916, reviews of her New York performances in “Sesame of Love” were less enthusiastic. Perhaps, in the midst of war, the public appetite for performance was already changing.

In 1917 Saharet married again, to a third German-born New Yorker and her latest theatrical agent – Maxim P (Phideus) Lowe. Soon after, she retired from the stage for good.
Ike and Saharet’s only child, Caroline Madelon Rose  was born in New York in November 1896. Known to all as Carrie, she accompanied her parents throughout their first European tours. In time, young Carrie experienced a life as tumultuous as her mother’s. In 1906, she was placed in a convent school in Belgium and later, another convent in Essex, England. Carrie then had a go at following her mother onto the stage and performed in England under the unbelievably mundane stage name of  Dorothy Siddons. She closely resembled her mother in appearance and her choice of dancing and acting as a career seems understandable, although she only met with mixed success. In the early 1920s, Carrie rebooted her acting career, this time as Madeline (also Madelon) La Varre. With this exotic name she appeared with greater success, in fleshy roles on Broadway and in two films. In 1927, Carrie changed course again, leaving the stage and entering a Carmelite Convent in the USA. She finally found her calling in 1944, when she joined the US Naval Reserve, becoming one of the first women to achieve the rank of Lieutenant Commander during World War Two. An amazing transformation.


Maxim P Lowe c1921 carrie rosenstamm Archibald McKenzie passport 1919 Clarice Edith Roberts
A Saharet Family Album
From left: Third husband Maxim P. Lowe c.1920, Daughter Caroline “Carrie” Rose c.1920, Half brother Archibald McKenzie c.1920, Saharet’s niece Clarice Roberts. c 1920.
All passport photos shown above are via Ancestry, from the US National Archives

Saharet, now calling herself Clarice Saharet Lowe, was 85 years old in 1964. When alert neighbours near 41 Ivanhoe Street, Battle Creek, realised they hadn’t seen her for some time, the local Police were called to break into her house. They found her body in the bath. It was 24th of July and she died alone, because sadly, daughter Carrie had taken her life after a catastrophic car accident, 14 years before. Her half-brother Archibald McKenzie was by then her closest living relative.

Saharat in BCE 1964
Text of Saharet’s obituary in The Battle Creek Enquirer, July 24, 1964. Via Newspapers.com

What sense can we make of this Australian girl who really could dance so spectacularly she developed an international reputation in just a few years? Why did she retire to Battle Creek in Michigan? Somewhere, hopefully, someone still has the photos and scrap books that she must have kept, detailing her extraordinary life, one that must have been rich in experiences.

Notes:

  1. A heavily tattooed French dancer called herself “Saharet” in the 1920s. She is unrelated to the subject of this account.

  2. Saharet’s mother was born Elizabeth Ah Foon in Ballarat in 1858. She lived a tumultuous life and is probably worth an entire biography of her own. Elizabeth, later to call herself Eveline, was the oldest of a large family born in Ballarat to 19 year-old Caroline Ramsay and her first husband, 24 year-old gold miner William Moy Ah Foon. She appears in the Ballarat Benevolent Asylum’s register as “pregnant and destitute” in September 1873 and reappears in the historical record in an authorised (but underage) marriage in 1874 followed by the birth of another child in 1875. Thus, she had already given birth to two children before she had Paulina Clarissa.

    Throughout her life, Elizabeth / Eveline went to great efforts to remain anonymous, consistently obscuring her identity by repeated changes of surname – Molony, Martella, Campbell, McKenzie, De Vere and claims that she was “born at sea”, or of Scottish or French-Canadian ancestry. It was remarkably easy to do this because until the First World War, people could travel internationally without formal documents. Eveline’s motivation for the endless and confusing changes of identity can only be guessed now, but its most likely this was a means to control her own destiny and maintain her independence. Perhaps it also explains why she preferred the great cultural melting pot of Brooklyn New York, as her home. It is highly likely that Saharet’s part-Chinese ethnicity, combined with the fact her parents Eveline and Benjamin Molony were probably not married, explains Saharet’s reluctance to discuss her origins very comprehensively. In the deeply race conscious societies Saharet was having such success in, to be of mixed race background could have meant the end of her career.

    US patented Child's carriageShe is almost certainly the same Eveline/Evelyn Campbell, “the Australian Sporting Lady,” who appeared in a rowing competition with a US woman in San Francisco in April 1893. In a lengthy interview with The San Francisco Call on March 28, 1893, this Eveline revealed her daughter was on the stage, and by her comments clearly had experience of living in Melbourne. But lacking the rowing experience she claimed, she lost the competition and missed the $250 prize.  Intriguingly however, it seems she received $14,000 for a patented “child’s carriage” at about the same time.

    (see Stanley P.331. Also see US patent No. 495,301 Patented Apr. 11, 1893)

     

    Julia Mellicino Moloney

    Above: Part of the birth certificate of Saharet’s younger sister Julia Mallicino Moloney, born November 11, 1881. Eveline gives her name as Elizabeth Eveline Ah Pack and no father is listed. Julia took to calling herself Millicent and died in New York in January 1906. Saharet took over the care of Millicent’s daughter Clarice Roberts after she died. Via Births, Deaths & Marriages, Victoria

    Eveline Mckenzie travel to the US in 1919a

    Above: An edited manifest for the SS Rotterdam, arriving in New York in 1919, reflecting the changes in travel requirements after the First World War. Eveline McKenzie’s age and birthplace – “Ballard” Australia are revealed, as she must have travelled on a British passport.  Note that her trip was paid for by her daughter, Mrs C.S. Lowe of New York (right hand section enlarged below)  Via Ancestry, from the US National Archives

    evelyn 3

     

    Even in death Elizabeth/Eveline managed to maintain fiction. When she died in Brooklyn, New York in 1936, Caroline Ramsay was acknowledged as her mother on the death certificate. However, her father was listed as “Walter Besant”, here she had chosen the name of a well known C19th novelist and historian. Her real father, William Moy Ah Foon was never acknowledged on any documents (nor Caroline’s second husband – traditional Chinese doctor, Lo Kwoi Sang.)

    Elizabeth/Eveline did not maintain any connection with her extended family in Ballarat. According to Mark Lepp, a descendant of Caroline Ramsay, the family knew she had gone to America, but nothing more. Caroline waited patiently of news of her oldest daughter, which never came. But its interesting that in far away New York, Saharet chose her grandmother’s name – Caroline – for her only child.


 

Nick Murphy,  Updated and links repaired July 2019

 


For further reading:

Books

  • Autumn Stanley (1995) Mothers and Daughters of Invention: Notes for a Revised History of Technology. P. 331, Rutgers University Press.
  • Edward Ross Dickinson (2017) Dancing in the Blood: Modern Dance and European Culture on the Eve of the First World War. Cambridge University Press.
  • Wilhelm Benignus (1913) Woman’s Soul. Sonnets, Odes and Songs, p.70. Max Schmetterling, New York.(In a footnote in this book Saharet’s father is claimed to be a John Campbell.)
  • Hermynia Zur Mühlen (1929) The End and the Beginning: The Book of My Life.
  • Averil King (2013) Emil Nolde: Artist of the Elements. I.B.Taurus

Websites

Newspapers

Via the National Library of Australia’s Trove

  • The Argus, 19 Nov 1898. A report of a Daily Mail interview with Saharet.
  • The Daily Herald, Feb 3, 1913.
  • The Catholic Press, July 14, 1927.
  • Sunday Times, Feb 14, 1909
  • Numerous Australian papers covered Ike Rose’s 1913 visit. See for example, The Mail, 1 Feb, 1913

Via Newspapers.com

  • Battle Creek Enquirer July 24, 1964 reports Mrs Clarice S Lowe’s death.
  • Battle Creek Enquirer March 12, 1947 reports on Carrie M Rose
  • Variety Feb 1, 1914