Tag: Maie Saqui

The strange story of Maie Saqui (1879-1907)

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.
The 5 second version
Born May Vivian Saqui, in Fitzroy, Victoria, Australia, on 19 December 1879, she joined the cast of the visiting Gaiety Company in Melbourne at a very young age, in 1892. After this she appeared in other Australian stage plays. She departed for London in 1897, travelling on her own. She quickly found work with George Edwardes at the Gaiety Theatre in London and was joined a year later by her sisters Gladys and Hazel, who in time, also performed for Edwardes. She died in London, England, on 28 March 1907 as a result of cancer. There is no evidence she was familiar with or ever met her notorious grand-aunt Sarah Saqui, who left for the US before she was born. (See Note 2).
A very young Maie Saqui, as she appears in Theatre Heritage Australia’s Falk Album (Photos by H Walter Barnett).
Gaietygirl1896
Above – the stereotypical Edwardes chorus girl from the play “A Gaiety Girl.” Image by Dudley Hardy, Paris, 1896 via Wikipmedia Commons.

May Vivian Saqui was born in Fitzroy, Melbourne Australia on December 19, 1879. (See Note 1 below) For a short period of time she was one of London’s celebrated “Gaiety Girls”, performing in musical comedies at George Edwardes Gaiety Theatre. Her father John Isaac Saqui (also known as John I or Jack) was a Melbourne 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 Jack had married in 1877. At the time of May’s birth, the family home was listed as being on the corner of Nicholson and Moor Streets, Fitzroy. Five years later, they lived next door. The two fine “boom era” buildings still stand at this spot, and today they speak of the opulence and confidence of the young colony following the gold rushes of the 1850s. 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 Beechworth

May’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.

Jack 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. 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. 

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. Via the State Library of Victoria.

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 Jack 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.

Some time in 1890, Jack was assaulted as he arrived home to Drummond Street. (The illustration at left is from the “Truth” newspaper account some thirty years later – 10 May 1925) He was found unconscious at his front door – he had been struck on the head. At the time 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 Jack 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 Jack 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 Jack’s mother 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… 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 of cancer 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.

Maie’s only child, Inez Hope Travers (later Pringle) lived a long life and was acknowledged in 1982 with the Venerable Order of the Hospital of St. John of Jerusalem, and then an MBE in 1986, for services to ex-servicemen in Dublin. It is safe to assume Maie would have been very proud.

When Maie’s 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. In his biography of Nelson Keys (nicknamed “Bunch”), John Keys (who went by the name John Paddy Carstairs) states that his mother’s name was Hazel Eileen nee Fuller and that she was of Irish stock. This is such a significant “error” one must assume it was done deliberately to disguise Hazel’s Jewish roots.

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

Note 1: May or Mary – her name

Her 1879 birth certificate is quite clear. She was born May and she also appears as May in the birth certificates of her siblings. She chose “Maie” as a stage name.

May Vivian Saqui BC
Above: Part of Maie’s birth certificate, via Victoria Births Deaths and Marriages.

Barnett was the family name of Esther (Stella) Saqui. 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).

Note 2: Sarah Saqui, The Psyche

Sarah Saqui (born in England in 1838), a sister of Maie’s grandfather (and thus Maie’s grand-aunt), was the well known courtesan who entertained Alfred, the Duke of Edinburgh on the first royal visit to Australia in 1867. Like her brother Abraham (Austin) she had arrived in Victoria during the goldrushes, although how she drifted into sex work we do not know. Writer Steve Harris specifically names Saqui as the Duke’s main Australian consort – she was also known as “the Psyche,” which was apparently a play on the name Saqui. Contemporary papers like “The Truth” also identified her. 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 also a singer, who married several times and apparently lived out her days in New York. She left Melbourne after marrying visiting US musician Charles Eugene Pratt on 13 September 1875, well before Maie was born. We have no evidence Maie ever met (or even knew about) her grand-aunt, and given the difference in age and their known histories, it seems unlikely. Sarah had at least one child by Pratt in the US, but the later fate of this interesting woman is unknown.

Nick Murphy
May 2019, updated January 2020.

References

Special Thanks

To John Shrimski, a second cousin of Maie Saqui, for his assistance and encouragement.

  • Text
    • John Paddy Carstairs (1941) Bunch, a Biography of Nelson Keys. Hurst and Blackett 
    • 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.
    • Barbara Minchinton (2021) The Women of Little Lon. Sex Workers in Nineteenth Century Melbourne. La Trobe University Press.
    • 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
  • Public Record Office Victoria.
  • Victoria Births Deaths and Marriages
    • Sarah Saqui and Charles Eugene Pratt Wedding Certificate 13 Sept 1875
    • May Vivian Saqui Birth Certificate 19 December 1879
    • Hazel Eileen Saqui Birth Certificate 7 January 1887
  • Other Websites
  • National Library of Australia- Trove
    In addition to the newspapers hotlinked in the text, the following may be of interest:
    • Ovens and Murray Advertiser, 6 June 1857
    • The Age, Fri 15 Dec 1871 Page 3 LEGAL INTELLIGENCE.
    • Maryborough Chronicle, 4 Sept 1875
    • 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 Bendigo Independent, Oct 5, 1897
    • Truth, Maie Saqui Shines, 1 Oct 1904
    • Bendigo Advertiser, 27 July 1907
    • Kalgoorlie Western Argus, 20 August 1907
    • Truth, Knapp the Knapper, 30 Oct 1915
    • 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.
  • British Library Newspaper Archive
    • The Sketch, 18 July 1900
    • The Tatler, 12 March 1902
    • The Sketch, 22 October 1902
    • The Sketch, 3 Dec 1902
    • The Sketch, 11 Feb 1903
    • The Sketch, 13 Jan 1904
    • The Tatler 26 October 1904
    • The Sketch, 10 April 1907
  • Newspapers.com
    • The Standard (UK), 14 June 1900

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

Maud Hobson (1860-1913), 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 wrote “Maud 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

Stars of Old Fitzroy

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

Fitzroy stars 4

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

A: Mary Maguire (1919-1974)

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

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

Maguire-enrolment-1

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

B: Maie Saqui (1879-1907)

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

120 and 122 Nicholson St

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

C: Saharet (1878-1964)

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

Boarding House Nicholson St Fitzroy

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

D: Harry Allen (1877-1951)

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

Possibly No 2 Barkley St Carlton

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

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

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

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

54-56 Kerr St Fitzroy

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

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

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

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

431-george-st

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

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

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

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

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

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

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

H: Florrie Forde (1876-1940)

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

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Above: The former United Service Club Hotel.

Nick Murphy
Updated April 2021