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.

Pollard’s performers in Vancouver 1903. Left to right: Ivy and Daphne Trott (Pollard), Irene Finlay, Leah Leichner, Willie Thomas all from inner Melbourne. The photo of Leah is enlarged from the Australian Performing Arts Collection and used with permission. Other photos are from a group photo via Vancouver As It Was: A Photo-Historical Journey (click to follow the link) reproduced with permission.

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

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

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 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.

Above: Ethel Naylor featured in the Oroville Daily Register (California), 24 Jan 1916. Via Newspapers.com
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.

May and Minnie 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.


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

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 Wilson. “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.