Early Australian Stage & Radio
(Warren Fahey). The stories associated with early Australian theatre are quite fascinating. Over the years, I have done some acting stints, the most recent being one of three performers in Martyn Wyndham-Read’s stage show, ‘I Don’t Go Shearing Now’. Before that, in 2010, I collaborated with distinguished Australian actor Max Cullen, in our two-man play, ‘Dead Men Talking’, where Max portrayed Henry Lawson and I played Banjo Paterson. We did something like 243 performances before putting the play to bed when covid hit Australia. I feel a certain connection to the story of Australian theatre.
In this section, you will find biographies of some of the early theatrical producers of Australia. In several instances, these people were also actors. The first play to be performed in Australia was ‘The Recruiting Officer’, in 1789. It was performed by convicts in the penal colony under the governance of Governor Philip As the colony grew, so did the demand for theatre. Theatres were built in all colonial cities and some of the larger towns.
In this section, you will read of the exploits of ‘Billy Barlow’, a fascinating theatrical character with a history full of twists and turns. The ‘Billy Barlow’ character, and there were several, resulted in many songs, mainly parodies.
Billy Barlow
I daresay this rendition of the song, Billy Barlow, is the only time it has been recorded. I did it as a matter of public record – it’s about ten minutes long! Struth! WF
Joy Hildebrand’s comprehensive study of ‘Billy Barlow’ is a wonderful journey into a theatrical character with more lives than the average theatre cat. In true theatrical and folklore style the character is surrounded by mystery and ‘Billy Barlow’, in one of his many disguises, has a habit of still popping-up in the strangest places. Like others, I first encountered ‘Billy Barlow’ through one of ‘his’ songs being included in Australia’s most important collection of bush verse, A. B. ‘Banjo’ Paterson’s, 1905 collection Old Bush Songs, published by Angus and Robertson. The story, like its broadside counterparts ‘Mr. O’Keefe’s Adventures in Australia’ and ‘Paddy Malone In Australia’, tells of the trials and tribulations of a pioneer settler. However, this song has proved to be just one of many that have come to the surface, and keep coming, about our friend with ‘one boot and one shoe’.
Joy explains the early provenance of Billy Barlow in nursery and folk song and particularly the following
| BILLY BARLOW O when I was born, says old Mother Goose, He is a fine boy, but he’ll be of no use; My father he said that to church I should go, And there he had me christened Billy Barlow. Refrain: O dear, lackaday O, etc. My father he said I came from a good breed, So he sent me to school for to learn me to read, But because I coud not tell all my letters at once They put me on a foolscap, and called me a dunce. One day my mother O Billy, says she, Will you go and fetch me some milk for my tea, But going along I broke the milk pot, And when I got home what a whopping I got As I walk through the streets, I can’t tell for why, The boys they point at me, saying- “there goes a Guy.” ‘Twas only last night very well I remember, They said that they’d burn me next 5th of November. O then there’s my brother I did him displease, He gave me soap for to eat and said it was cheese And when that he had done it he call’d it a joke But for three weeks after poor Billy ne’er spoke. As I walk along, the girls as I pass O how they look at me and cock up a glass, And then they cry out, one and all, There goes a great fool that’s got nothing at all. One morn I got up, not thinking of harm, And took a walk to the New River all for to catch fish, But my foot gave a slip, so I fell into a ditch. I’m grown old, it is my ill luck, For with another man to draw a truck Because I’m so feeble to work I can’t stick, And when I get home give me oakum to pick. Firth b25(72), Catnach Printer, London, 1813-1838. Bodleian Library. Also Harding B11(2908), 1840-1866. Minor differences however one can see how these became the Australian versions. |
BILLY BARLOW IN AUSTRALIA
In 1956 the Australian folklorist Hugh Anderson published a small folio Songs of Billy Barlow, with drawings by Ron Edwards, in their Black Bull Chapbooks series, published by Ram Skull Press. The Billy Barlow folio was number 4 in the series and contained a short introduction by Anderson and the four then documented Australian published ballads: ‘Billy Barlow’ (‘Original Local Song’ as published in the Barry O’Neil Songster, 1855), ‘Billy Barlow in Sydney’ (as made famous by theatrical pioneer George Seth Coppin, and later published by Thomas Rolfe, Sydney, 1853), ‘Billy Barlow in Australia’ (as attributed to Benjamin Griffin and published in the Maitland Mercury, 1845, and later published by A. B. Paterson in 1905), and, lastly, ‘Billy Barlow’ (as published in the Australian Melodist No. 10, Melbourne, circa 1880s).
This is the first known Billy Barlow song to be performed and published in Australia. It appeared in the Maitland Mercury, 1845, and I refer readers to the information at the foot of the verses which explain the actual performance.
| BILLY BARLOW IN AUSTRALIA. When I was at home I was down on my luck, And I yearnt a poor living by drawing a truck ; But old Aunt died and left me a thousand—oh, oh. I’ll start on my travels said Billy Barlow Oh dear, Lackaday oh, So off to Australia came Billy Barlow. When to Sydney I got, there a Merchant I met, Who said he could teach me a fortune to get ; He’d Cattle and Sheep past the colony bounds, Which he sold with a Station for my thousand pound;;, Oh dear, Lackaday, oh, He gammoned the cash out of Billy Barlow. When the bargain was struck, and the money was paid, He said my dear fellow your fortune’s now made ; I can furnish supplies for the Station you know, And your bill is sufficient, good W. Barlow. Oh dear, Lackaday, oh, A gentleman Settler was Billy Barlow. So I got my supplies, and I gave him my bill, And for New England started, my pockets to fill; But by bushrangers met, with my traps they made free, Took my horse, and left Billy bailed up to a tree. Oh dear, Lackaday, oh, I shall die of starvation, thought Billy Barlow. At last I got loose, and I walked on my way, Constable came up, and to me did say, Are you free? says I yes, don’t you know ? And I handed my card, Mr. William Barlow. Oh dear, Lackaday, oh, He said ” That’s all gammon” to Billy Barlow. Then he put. on the hand-cuffs, and brought me away, Right back down to Maitland, before Mr. Day; When I said I was free, why the J.P. replied, I must send you down to be i-dentified. Oh dear, Lackaday, oh, So to Sydney once more went poor Billy Barlow- They at last let me go, and I then did repair For my Station once more, and at length I got there ;. But a few weeks before the blacks, you must know, Had spear’d all the cattle of Billy Barlow. Oh dear, Lackaday, oh, It’s a beautiful country said Billy Barlow. And for nine months before no rain there had been, So the devil a blade of grass could be seen ; And one-third of my wethers the scab they had got, And the other two-thirds had. died of the rot. Oh dear, Lackaday, oh, I shall soon be a settler said Billy Barlow. And the matter to mend, now my bill was near due, So I wrote to my friend, and just asked to renew ; He replied he was sorry he could’nt, because The bill had passed into Tom Burdekin’s claws. Oh dear, Lackaday, oh, But perhaps he’ll renew it, said Billy Barlow. I applied ; to renew it he was quite content, If secured, and allowed just 300 per cent; But as I could’nt do it, Carr, Rodgers, & Co., Soon sent up a summons for Billy Barlow Oh dear, Lackaday, oh, They soon settled, the business of Billy Barlow For a month or six weeks, I stewed over my loss, And a tall man rode up one day on a black horse ; He asked, don’t you know me ; I answered him No! Why ‘ says he,’ my name’s Kingswill; how are you Barlow? Oh, dear, Lackaday, oh, He’d got a fi fa, for poor Billy Barlow. What I’d left of my sheep and my traps he did seize, And he said ” they won’t pay all the costs and my fees ;” Then he sold off the lot, and I am sure t’was a sin, At sixpence a head, and the Station gave in. Oh dear, Lackaday, oh, I’ll go back to England, said Billy Barlow. |
The above verses from the Maitland Mercury, 1845, were also published in The Stockwhip Vol 11 No 14 published Sydney Nov 20, 1875, with the following (erroneous) note: “The Original ‘Billy Barlow’.
Many of our readers, especially those who reside in the Hunter River district, will not only remember the following song but will probably have a keen and kind recollection of its clever composer, Mr Benjamin Griffiths. Mr Griffiths, some eight and twenty years ago, was a member of the Amateur Dramatic Society, which was wont to enliven the good folk of Maitland with theatrical performances, given at the Northumberland Hotel (now the West Maitland Court House). These performances were always very good, and were a source of great amusement to the inhabitants of the district, who used to flock to the ‘theatre’ from miles around Maitland. The best man of the ‘company’, and the most ‘popular favourite’, was ‘Ben Griffiths’ and the ‘gem’ of Ben Griffiths’ repertory was the following song, which was written and sung by himself. Of course, many of the allusions in the piece will fail to be fully comprehended by the ‘new generation’ that has arisen since ‘Billy Barlow’ first described his squatting career, in 1843. Mr Griffith’s rendering of the song was exceedingly humorous. The curtain being drawn disclosed Billy Barlow dressed in moleskins, red shirt, and other bushman’s insignia, sleeping by a campfire. Amid the applause he awakened, rubbed his eyes, poked his fire together, and, rising in a lounging lazy way, came to the footlights and sang: (followed by song)
BILLY BARLOW IN SYDNEY
The following is as sung by George Coppin, in 1843, at the Royal Victoria Theatre, Sydney, where his performance netted him “upwards of fifty-pounds a night”. This was an astronomical amount of money for the 1840s. The song was later published by Thomas Rolfe of Pitt Street, Sydney, in 1853, testifying the lengthy popularity of the ballad.
| BILLY BARLOW IN SYDNEY As I walked along George Street this ere day The people all look’d &. some of ’em did say Now that ere young chap he don’t go so slow I guess not, says a lady, that’s Billy Barlow Oh dear & etc When resolv’d from old England I would come away The lords & the ladies all ax’d me to stay The Queen she came too, on knees she did go And said “Pray do not leave me, dear Billy Barlow Oh dear etc She then said “we have had all the Germans at court To Italians & Frenchmen we’ve given support On our own native talent our favours we’ll show So we’ll order to court Mr William Barlow When she said these words oh she smiled upon me & said, that the Prince of Wales I should next see She then took the child & said “dear don’t you know Your illustrious god papa Billy Barlow The next prince or princess they’ll named after me There’s a line in perspective we most on us see So the name they will on the next young un bestow Will be Albert Augustus Sam Billy Barlow Ladies & gentlemen I have come back again Of your approbation I feels very wain Though it must be confessed your good taste you all show In encoring the song of Billy Barlow As am I on the clean deck of the Templar did stand A lot of gents came & took me by the hand Says they ‘Your a stranger in Sydney we know So we’ve come here to welcome young Billy Barlow Says one “you don’t know i see why I came But I have heard of your most illustrious name I’m the Mayor of the city with me you must go 1’ll introduce to the council young Billy Barlow Since then I have a hit on an excellent plan- To set up for Legislation as soon as I can So give me your votes and I very well know You could not choose better than Billy Barlow Perhaps ay political opinions you’d ask And to give you them all in a very short task I’d live well, do no work, ride wherever I go Peace & comforts the system for Billy Barlow Ladies & gents I must “bid you good night For from Governor Gipps I’ve had an invite To meet him at supper in a house you well know His carriage is waiting for Billy Barlow Additional verses Wanted a wife that is timid & young With a very good temper-a curb on her tongue A fortune not less than a thousand or so & a very small price for Billy Barlow Like a clock she must go in a regular way But not like a clock strike each hour of the day For a wife that can box for me is no go A peaceful man is young Billy Barlow Who’ll have me! who’ll have me! – cry out I I cant marry you all though I m willing to try To a sweet pretty lady I’d grieve to say no For a very soft heart has Billy Barlow Bid you speak Miss-ah, don’t turn & look shy If you are quite willing quite ready am I Come round to the stage door & ask for your beau And fly to the arms of Billy Barlow |
AUSTRALIAN MELODIST CIRCA 1880
The following the song published in the Australian Melodist no.10, circa 1880. Published by A.H. Massina, Melbourne. The Australian Melodist was a series of songbooks and carried the note: “The most popular songs, as sung at the theatres and concert halls by the several minstrel troupes which have visited the colonies.” I would point out that the first minstrel troupe visited Australia in 1838. The Templar was the ship that George Coppin arrived on from Liverpool.
| BILLY BARLOW Now, ladies and gentlemen, how do you do? I have come here before you with one boot and one show – I don’t know how it is, but somehow it is so; Now isn’t it hard on poor Billy Barlow? Oh, dear oh, raggidy oh; Now isn’t it hard on poor Billy Barlow. As I was a going down town t’other day, The people all stared, and some of them did say – “Why, that ‘ere young chap now, he ain’t so slow” – “I guess not,: says a lady, “that’s William Barlow.” Oh, dear oh, raggidy oh: “I guess not,” says a lady, “that’s William Barlow.” Oh dear, bless my soul, but I’m tired of this life – I wish in my heart I could get a good wife; If there’s any young lady ‘ere wanting a bean. Let her fly to the buzzom of Billy Barlow. Oh, dear oh, raggidy oh, Let her fly to the buzzom (sic) of Billy Barlow. But ‘ow ‘ard ‘mongst so many the trouble of choosin’, Then dear creatures, pray save ne the pain of refusin’; So up in the hair all your coppers let go, And cry heads or tails for this Billy Barlow. Oh, dear, oh, raggedy oh; And cry heads or tails for this Billy Barlow. I’ve been to the shop where the papers they fills, With hints to economise your tailor’s bills; When I showed ’em my togs, they confessed ’twas no go To try and economise Billy Barlow. Oh, dear, oh, raggidy oh; To try and economise Billy Barlow. Encore verse. Oh, ladies and gentlemen, I’ve come out again, Of your approbation I feels rather vain. |
ORIGINAL LOCAL SONG
The following, obviously topical song, was published in the Barry O’Neil Songster, 1855.
| BILLY BARLOW – ORIGINAL LOCAL SONG Here’s Billy Barlow come before you once more, ‘Exactly the same as you’ve seen him before; For, although it seems Strange’, ’tis a fad, you must know, The world contains only one Billy Barlow. Oh! oh! raggedy, oh! Completely unique is Mister Barlow. When I deigned to come out at my Sovereign’s command, ‘Twas to take the high office of Judge in this land; But soon I found out the job was “no go,” ” Second fiddle” won’t do for Billy Barlow. Oh! oh! raggedy, oh! They’ll find nothing “puisne” in William Barlow. Bob Low t’other day sent a letter to me, “We can’t find a Gov’nor to suit us,” says he; “If you’d like the billet, why, just let us know, And we’ll give the appointment to Misier Barlow.” Oh! oh! raggedy, oh! What think you of ” Governor William Barlow?” ‘Twill be running for me to bear in the Street, “There’s the Governor,” whiskered by people I meet; But still, it would sound confoundedly low, After the title of Billy Barlow. Oh! oh! raggedy, oh! The nobler of titles is Billy Barlow. If a large requisition is laid at my feet, I may be induced to accept of a seat, For the new Council-chamber—and should it be so, You’II hear of the “Hon’rable William Barlow.” Oh! oh! raggedy, oh! They’ll make a Col. Sec. of Billy Barlow. If you wish me yourselves to represent you, I can tell you one thing which I’d like you to do— Just call at my mansion tomorrow, and show A qualification for Billy Barlow. Oh! oh! raggedy, oh! The man for your money is Mister Barlow. And now my good fellows, ere I say goodbye, I’ve a favour to ask you – betwixt you and I – When you go hame tonight, let nobody know, That you’ve seen the remarkable Mister Barlow. Oh! oh! raggedy, oh! Keep it dark about seeing ‘great Billy Barlow.” For the ladies – God bless ‘em – won’t let me alone, Their attentions have worn me clean down to the bone; Each fair one is longing to get for her beau, The modern Adonis, young Billy Barlow. Oh! oh! raggedy, oh! He’s the pet of the ladies in Mr. Barlow. |
DON’T GO TO THE BUSH OF AUSTRALIA
There is another early ‘immigrant’s complaint’ sister song titled ‘Don’t Go To The Bush Of Australia’ that could almost be the origin of the Billy Barlow Maitland set of verses. This song documents the trials and tribulations of a new chum settler. The poor devil cops the lot – bushrangers, the barren bush, drought, hostile Aborigines and financial disaster, before hotfooting it back to Mother England. He claims he’d rather sell matches door-to-door than return to Australia. It was also published in Old Bush Songs (1924 revised edition) and A.B. Paterson, in his notes says, ‘It is noticeable that in all the ballads of early days there is a sort of happy-go-lucky spirit that reflects the easy come, easy go style of the times.’ Paterson’s version was titled (sarcastically) ‘The Beautiful Land of Australia’.
I located the following version in the Mitchell Library Collection, in John Henderson’s Excursions and Adventures in New South Wales. Captain Henderson, of the 78th Highlanders, had two volumes of his book published in 1854 and included this song, implying that he composed it en route to Australia and adding that it was sung to the tune of ‘King of the Cannibal Islands’. It is more likely the work of Colonial Surgeon Goodwin who was in the Colony prior to Henderson. This would suggest that Henderson would have heard the song in London and had adapted the verses, especially since his rendition was written down in transit to Australia. Both scenarios beg the question, if the song had been composed in Sydney, at an earlier date, conceivably the early 1840s, this would coincide with the Maitland performance and publishing. A chicken and egg case? It is possible Billy Barlow was inspired by ‘Don’t Go To The Bush of Australia’, or visa versa.
| DON’T GO TO THE BUSH OF AUSTRALIA Now all intent to emigrate, Come listen to the doleful fate, Which did befall me of late, When I went to the wilds of Australia. I sailed across the stormy main, And often wished myself back again, I really think I was quite insane When I went to the bush of Australia. Illawarra, Moneroo, Parramatta Woolloomaloo (sic), If you wouldn’t become a kangaroo, Don’t go to the bush of Australia. One never knows what does await, For just as we entered Bass’s Strait, We lost the half of our crew, and our mate, As we sailed to the bush of Australia. The vessel struck on a bank of sand, And when we drifted to the land, We soon were surrounded by a band Of savages in Australia, But I was so starved I look’d like a ghost, I didn’t weigh more than four stone at most, Thank heaven! I wasn’t fit for a roast, For the cannibals in Australia. So to Sydney town I travelled then, The Governor gave me some convict men, And I set off to live in a den In the dismal bush of Australia. And when I came to look at the land, Which I got by his Excellency’s command, I found it was nothing but burning sand, Like all the rest of Australia. But I bought a flock of sheep at last, And thought that my troubles were past, But you may believe I stood aghast, When they died of the rot in Australia. My convicts were always drinking rum, I often wished they were up a gum- Tree – or that I had never come, To the horrible bush of Australia. The bushrangers my hut attacked, And they were by my convicts back’d, And my log hut was fairly sack’d Of all I had got in Australia. A thousand or two don’t go a long way, When every one robs you in open day, And the bankers all fail and mizzle away From the capital of Australia. And it’s not very easy to keep your cash, When once in twelvemonth your agent goes smash, And bolts to New Zealand, or gets a whitewash; It’s a way that they have in Australia. So articles I signed at last, And work’d as a man before the mast; And back to England I came full fast, And left the confounded Australia. To sell a few matches from door to door, Would certainly be a very great bore, But I’ve made up my mind to do that before I’ll go back to the bush of Australia. |
THE SORROWS OF BILLY BARLOW
Coppin’s relocation to Hobart must have been a major item of conversation to provoke one of the leading magazines to include a song about him and his character ‘going south’.
The following song from Bell’s Life in Australia. January 1845.
| THE SORROWS OF BILLY BARLOW As musing I laid, ‘Neath a bush’s shade, O’ercome with travel and heat; Now thinking of home, Now of things to come, I heard a gay laugh at my feet. Yet naught could I see, Save a bush or a tree, Nor mortal thing was near, Yet my heart did rejoice In the tiny voice, And the mirth that greeted my ear. Again and again, Distant and plain, The Elphin laugh’d with glee; Now here now there As if borne on air, A spirit of revelry. I look’d with amaze With a wonderful gaze, On each leaf, each blade of grass; “Look not where I bide, “I’m a spirit” he cried, “I’m the essence of laughing gas.” “A devil, a devil, “But not of evil, “A devil of right good cheer – “A devil am I, “I laugh till I cry, “My sides will split! Oh dear. “Say now where away, “good devil so gay?” Laughing, I bawl’d aloud. “I’m here and I’m there, “A spirit of air, “And my palace is yon bright cloud.” “Why, where have you been, “What can you have seen, “That makes you now so gay?” Where have I been, “Not far I ween; “I’m just up from Watson’s Bay.” “And is there ought there, “Of frolic so rare, “To afford thee such mirth and glee.” “Tell me, good devil, “The whole of the revel, “For I revel in devils like thee.” “Then listen,” said he, and attentively, “I’ll spin you the yarn all through: “You shall laugh with me, “And right merrily, “For I love to hear others laugh too.” “Poor Billy Barlow, “Whom of course you know, Had taken his passage down, “To astonish the folks “With his songs and jokes, “And gain laurels in Hobart Town. “And with him away, “Was a lass gay, “Whose face I was anxious to see, “Yet nought could I trace, “Save grief on her face, “And she wept most bitterly. “Poor Billy look’d sad. “And not half the lad, “I’ve seen him in his long room, “Not a soul did he greet, “As they strode thro’ the street “O’er his face hung the darkest gloom. “Now indeed Mrs B., “I can plainly see, “That you’re not disposed to forget it, “You don’t care for me, “You’re a thinking of he, “Stay behind! Don’t you wish you may get it?” “Thus sighing he spoke, “T’was aught but a joke, “Poor Billy B. hung down his head, “He just turned his back. “She was off in a crack, “When he look’d up the bird had fled. “Oh! raggidy oh! “Screamed Billy Barlow, “Oh ‘where on airth’ is she gone? “She’s off like a shot, “Another she’s got, “ And Brown I am reg’larly done. “Oh who can Heal eh! “This wound I feel – eh! “Or who can pardon such sin? ”Oh would I have died, “Before I, he cried, “Before had ere kept a gin. “Poor B. was B flat, “He crushed on his hat, “In agony bitter he sought her, “Too sharp was his C, “AS for inconstancy, “What blame? ‘Twas he who first taught her. “Again she was found, “And again return’d “Again B. was left to moan; “Whilst passing South Head, “She bolted ‘tis said, “And B. had to go on alone.” Then chuckling with glee, I’m off said he, And remember those adages pat; Send care to the devil, A woman’s an evil, Know thyself man – laugh and grow fat. |
BILLY BARLOW CLERK OF THE MARKET
In 2004, much to my surprise, I found four more ‘Billy Barlow’ songs in a little-known Tasmanian newspaper, The Cornwall Chronicle, all published in 1849, just four years after the first Australian documented sighting. These four songs, obviously written by the same pen, were topical parodies addressing the local market (‘Billy Barlow Clerk of the Market’), the Tasmanian meat industry dispute (‘Shiloh and Barlow’, ‘Billy Barlow Turned Butcher’) and the 1849 Californian gold rush fever (‘Billy Barlow’s Advice About California’). It is fascinating to think who composed these songs and why they chose the ‘Billy Barlow’ character. Considering the timeframe the songs could quite possibly be the work of the so-called ‘father of Australian theatre’, George Seth Coppin.
| BILLY BARLOW CLERK OF THE MARKET Now listen ye farmers and graziers to me, Attend while I read you the Council’s decree: And likewise ye hawkers , you gardeners al-so, I’m clerk of the market, says Billy Barlow. Whiff, woff, puff when I blow, I’ll strut! And I’ll bounce! says Billy Barlow. ‘Tis her Majesty’s pleasure when Hay you do truss, To Market you bring it, without any fuss! My standard shall weight it, and that you shall know; If short weight, no matter to Billy Barlow. Whiff, woff, puff when I blow, Mind I don’t police you! says Billy Barlow. Bring your butter and cheese as soon as they’re made, The dues of the Market, they first shall be paid; Or ever you hawk them, or sell them or no, All my fee I shall have, says Billy Barlow. Wiff, woff, puff when I blow. I’m not to be put down, says Billy Barlow. Now ye gard’ners at once, your barrows put by, No longer your ‘taters’ nor carrots to cry; Your cabbage, your turnips, shall all of a row, Stand up in the Market, says Billy Barlow. Whiff, woff, puff when I blow, No longer an Angler is Billy Barlow. Your fruit to the Market, when pluck’d from the trees, Rent a stand or a stall, which ever you please; But ‘down with the dust’, for the cash you must know, Is the only compromise with Billy Barlow. Whiff, woff, puff when I blow, I’m down as a hammer says Billy Barlow. Ye boat-men ahoy, keep you clear of my wharf, When my fees you have paid, you may shove your boat off; But remember no tricks, or else by great Jo, I’ll be down on your decks, says Billy Barlow. Whiff, woff, puff when I blow, A man of great consequence – Billy Barlow. And now, oh ye weigh-bridges, I’ll put you down; Mine shall be the standard (belongs to the Crown); If heavier, or lighter, or a little so, so, I don’t care a straw, sir! says Billy Barlow. Whiff, woff, puff when I blow, And that’s none-so-dusty, says Billy Barlow. You pray’d for a Market, you cry’d night and day, A Market you’ve got, and the fees you shall pay; Therefore bring all your carts, bags, baskets ad shew, You intend not to trifle with Billy Barlow. Whiff, Woff, Puff when I blow, I’ll skin you, I’ll fleece you, says Billy Barlow. Farewell then, take warning and mind what I say, Or I’ll screw you down tighter and tighter each day, To fill my own pockets, although very low, No longer an Angler us Billy Barlow. Whiff, woff, puff when I blow, I’m Clerk of the Market, says Billy Barlow. Published in the Cornwall Chronicle, Tasmania, 31 March, 1849 1849. |
BILLY BARLOW’S ADVICE ABOUT CALIFORNIA
In the next song, a fascinating comment on the lure of the California gold rushes, ‘Billy’ speaks of Australia’s potential. The reference to ‘Johnny Newcombe’ is interesting as it is slang for Johnny-come-lately or Johnny Newcomer.
| BILLY BARLOW’S ADVICE ABOUT CALIFORNIA Ye tradesmen and workmen just listen to me, And don’t be too quick, lads, in going to sea; But well study the chances before you do go – ‘Tis the advice of your old friend – poor Billy Barlow, Oh! oh! mining’s the go, You are gold-hunting mad says Billy Barlow. That gold is of value, I do not deny, And those who possess it most comforts can buy; But that stupid ass ‘Midas’, we most of us know, Was starved by his riches, says Billy Barlow. Oh! oh! California’s the go, I’ll not be a ‘Midas’ says Billy Barlow. True, the times are not good, and trade it is shy; Yet many a bright star still shines in the sky; Just listen to me, and I’ll soon let you know How you’ll better your fortunes, says Billy Barlow: It may be in mining – for that is the go, But don’t be too greedy, says Billy Barlow. ‘Prospectors’ to Mexico will flow like a sluice, To dig for the gold it’s mountains produce; But food-potations and clothing, I can easily show, When paid for, in dust, will leave the gain very low. The merchants will have the most ‘lumpies’ to show, We’ll have them here too, says Billy Barlow. Diggers’ clothes will wear out, and get ragged and old, They must barter for new with their bright-shining gold; And salt-horse, and champagne, and flour but so-so, Must be paid for, in gold-dust, says Billy Barlow. Oh! oh! to starve is no go, And gold-dust won’t feed you, says Billy Barlow. Then in sickness – for miasma, in plenty, is there – And fevers most fatal, the ‘Johnny Newcombe’s’ won’t spare; Where’s the friend and the nurse to lessen their woe? No sympathy ‘mongst gold-hunters, says Billy Barlow. Oh! oh! the calomel, oh! Will kill them, for certain, says Billy Barlow. Alone, in the ravines, though many be near, Each one for himself – all are merciless there; The dust of the sick man no help will bring nigh, Unpitied and spurned, he’ll in wretchedness die: And when his life’s blood ceases to flow, He’ll be carrion for crows, says Billy Barlow. Let the drones go, who like, to California for gold, Single, married, or neither, middle-aged, or old – To dive for the pearls, or to dig in the sand, Those best of will be who dig in our land, Wheat and potatoes, the best crops to grow, The ‘prospectors’ want feeding, says Billy Barlow. Our graziers must stay, and look after their flocks, Our farmers do ditto, and attend to their crops; For much food will be needed, before long, I trow, Wheat and wool is the ticket, says Billy Barlow. Our fields and our flocks, I very well know, Produce the best gold, says Billy Barlow. In our beautiful climate, honest industry’s sure To be rewarded with plenty, when labour is o’er; What more can he get, who to the ‘diggings’ will go? Disease, physic, and death, says Billy Barlow. Oh! oh! the ‘digging’s’ no go, “All’s not gold that glitters.” Says Billy Barlow. Published in the Cornwall Chronicle, Tasmania, 16th June, 1849 |
SHILOH AND BARLOW
This next song appears under the banner of an ‘advertisement’ and says it is ‘Part one’. I have note found vol. 2 as yet but, as readers can imagine, I am on the hunt.
I doubt if it is actually an ‘advertisement’ as it isn’t selling anything. And Mr Shiloh, one assumes, was the person who conceived the idea of graziers becoming butchers. Oh dear oh! In a statement in the same newspaper I located a paid ‘plea’ signed by Theodore Bartlett who is mentioned in the song as ‘Justice Bartlett; calling for a ban on all imported (from the mainland) meats.
| SHILOH AND BARLOW Ye merchants, tradesmen and publicans too, I’ve come to inform you what you should do – To stay Mr Justice Bartley & co, From becoming playmates of Billy Barlow! O the wool market is low, The graziers are trembling, says Mr Shiloh. They have treaten’d the whole of the butchers in town, That some should be whitewashed and others done brown; That Dyson should croke, and Butland also, That all were to be ruin’d by Billy Barlow. O the wool market is low, The farmers’ turn’d butcher says Mr Shiloh. It’s a very bad job for graziers you’ll find, That T.B & Co., to butchering are inclin’d; They will reduce the colonial stock very low, Colonial sheep are scarce, says Mr Shiloh. ‘Tis good for the poor, you all will admit, That two gentlemen farmers have ta’en such a fit – As to give the sheep growers such a terrible blow, By making meat lower, says Billy Barlow. O the wool market is low, And it’s a sad job for graziers says Mr Shiloh. The whole of the graziers very well know, That meat lowering gives them a terrible blow; But who can be blam’d, not the butchers I trow – “Let’s raise the price now,” says Billy Barlow. O the wool market is low, ‘Twill whitewash some settlers, says Mr Shiloh. If in a mad fit, they find wrong they have done, And attend to their farms, while the butch’ring shun; The butchers will endeavour to give them a go, And then meat will advance, says Billy Barlow. O the wool market is low, Twill ‘croke’ some graziers, says Mr Shiloh. Cornwall Chronicle. Tasmania. 17 April 1849. |
BILLY BARLOW TURNED BUTCHER
Another Barlow political rant about the Tasmanian Meat Incident where the graziers were being encouraged to butcher their own beasts and to cut out the butchery tradesmen. It does appear to be directly related and several people involved are mentioned in the song.
| BILLY BARLOW TURNED BUTCHER Ye butchers of Launceston listen to me, And in my opinion you’ll surely agree: The new Butch’ring Company will give you a go, It will soon cook your mutton, says Billy Barlow. O, rare, lackaday O! It will shut all your shops up, says Billy Barlow. They are going to sell mutton, and beef I hear say, And if they can’t sell it, will give it away; Their mutton and beef they will sell it so low – They will break all you butchers, says Billy Barlow. O, rare, lackaday, O! Hey mean playing up, says Billy Barlow. Bransgrove and Dean! They intend to smash – Lyall and Green! They will make you white-wash; Kingswell and White! You will get such a blow, As will knock out your bounce, says Billy Barlow, O, rare, lackaday O! You are all book’d for ruin, says Billy Barlow. Dyson and Butland! They will make you croke; Thrower and Harriss! You are sure to broke; Cherry and Walters! You will get such a blow, As will knock out all your bounce, says Billy Barlow. O, rare, lackaday O! Your cash is no use, now, says Billy Barlow. Sutton and Clancy! You’ll be done brown, Crewe and Bill Sheppard, you’ll sure be put down; And poor old Joe Gray, will be brought very low, But I defy them to break you, says Billy Barlow. O! rare, lackaday O! They are wonderful fellows, says Billy Barlow. All you other butchers, take warning in time, Sell nothing but what is colonial-fed! prime! For mutton and beef, to the settlers you go, Or they’ll smother you, likewise, says Billy Barlow. O! rare, lackaday O! I’m the managing man, says Billy Barlow. In winter, if stock should prove very scant, You will say that fat meat is the thing that you want; And that you will, go down to Munro – But you will find your mistake out, says Billy Barlow O! rare, lackaday O! We will stop your supplies, there, says Billy Barlow. The ships, ere that time, will be out of the trade, And Bartley & Co., will their fortunes have made; To Ridgeside, the trio, rejoicing will go, And the ‘firm’ be ten changed to Barlow & Co., O, rare, lackaday O! A great man will then be Mr. Billy Barlow |
From The Cornwall Chronicle Newspaper, Tasmania, 24 March, 1849
George Seth Coppin was a comic actor and entrepreneur, born on 8 April 1819 at Steyning, Sussex, England. By 1826 he and his sister were performing their own act together. George had a flair for comic acting and at 16 he became a professional, and for the next seven years had a variety of jobs connected with the theatre.
In 1842 Coppin decided to leave England for lands of greater promise and, since a toss of a coin decided Australia and not America, he and his partner left England in the Templar and on 10 March 1843 arrived in Sydney. There negotiations with Joseph Wyatt gave Coppin a successful season at the Royal Victoria Theatre. He used his quick-earned theatre profits to buy a hotel, lost money and left Sydney for Hobart Town. He arrived there in January 1845 and joined Mrs Clarke of the Royal Victoria, who gave him some managerial control of her theatre. He moved to Launceston in March taking most of her players with him as members of his own company. In June the company, bound to work for Coppin alone, went to Melbourne with him. In August 1846 he left for Adelaide, where on 10 September he arranged to convert the billiard room of the Temple Tavern, Gilles Arcade, into the New Queen’s Theatre capable of holding 700 people. The theatre opened on 2 November and Coppin’s company included recruits from Melbourne and for a few months the proprietor of the rival Royal Adelaide Theatre. In 1848 John Lazar returned to Adelaide and Coppin, now licensee of the Auction Mart Tavern and a race-horse owner and breeder, transferred the management of the theatre to him. As a hospitable young hotelier, Coppin provided for banquets, political assemblies and other functions where patrons reflected his multifarious interests in business, mining, racing and Freemasonry. He imported luxuries, the first shipment of ice, live turtles, deer for venison. He died in 1909. (With acknowledgement to Australian Biography)
Coppin’s presence in Hobart and Launceston reinforce that he could have been the author of the Tasmanian songs, however the dates do not exactly match, Coppin having relocated to the mainland by 1849. That said, there were always ‘Billy Barlow’ impersonators and his name was used colloquially as a ‘lackaday’ character akin to ‘Bill Muggins’ who was the usual scapegoat in the early mining industry, and, later, a party to ‘Murphy’s Law’ (anything that can go wrong, will go wrong). Coppin no doubt would have presented the Billy Barlow character in Tasmanian theatre and this would have been enough for some local scribbler to perhaps use the character in the set of songs sent to the newspaper.
BILLY BARLOW AT THE RACES
In 2008 Valda Low, the wonderful person responsible for keeping this site running in its early days, located another ‘Billy Barlow’ song. ‘Billy At The Races’, published in the South Australian Advertiser 11 Jan 1861 with an article on the Mount Remarkable Races. This brings us back to George Coppin’s passion for breeding racehorses and the fact he relocated to Adelaide in 1846 – so all fingers point to him as the possible author of this song. However he then relocated to Melbourne where he entered parliament, became a well-known philanthropist, and died, aged 87, in 1906.
| BILLY BARLOW AT THE RACES I’ve been to the races and had a fine spree, I’ve enjoyed myself well, for it just suited me ; The horses ran well, there were none of them slow, They went like good racers, says Mr. Barlow. The “Colonel” surprised all the knowing ones here, Leaving “Bandicoot,” “Tommy,” and all in the rear; lie’s a first-race flat racer, we all of us know, But he can’t go at hurdles, says Billow Barlow. There was one little chestnut horse, ” Gift” was his name, Ile shoved the old ” Colonel” quite close in his game, But old Rogers well trained him, we all of us know, ‘Twas five bob out of pocket for poor Billy Barlow. There were several races well contested that day, Between “Nobbler” and “Moro,” with others as gay; ” Moro” tried hard, but found it no go, “Nobbler” for the Maiden, said William Barlow. The Hurdle race next our attention most calls, For several riders got serious falls ; But “Bandicoot Tommy” is a rum one to go, He can fly over hurdles, says Billy Barlow. The Hack Hurdles next on our list we must place, It certainly was a jolly fine race ; There’s no hesitation, but at it they go, ‘T was the best of the lot to please Billy Barlow. There were several races after this one took place, For a saddle and bridle, and a galloway race ; But Mooney’s mare ” Betsy” was beat by ” Moro,” His pace was too rood, so says Mr. Barlow. The refreshments were served in the old English style, With good seats in the shade to recline on a while ; Good wine, grog, and ale from the tent. Sir, did flow, I was content with a ham bone, said William Barlow. |
There are several other fragments of ‘Billy Barlow’ songs, suggesting that the current collection of songs represents only the tip of the ‘Billy’ iceberg. In all my years of studying traditional and popular song I have never encountered another song or character that has so instilled itself into the popular tradition.
In 2008 I recorded the complete Maitland verses. This song is to be released on my 10CD ABC Music CD series in April 2009. It was an odd song to record as it ran for nearly ten minutes. This led me to think about how Coppin or the other great Barlow impersonator, Sam Cowell, would have portrayed him musically on stage. The fact that both performed the song in costume, either a bushman or cockney-styled toff, would have allowed a certain amount of ‘sight gags’ and, I assume, they performed to the accompaniment of a piano. I did wonder if they acted out various parts of the story, interrupting their rendition with sub plots.
BILLY BARLOW
America also had a tradition of Billy Barlow songs. I include some examples corresponding to Joy’s book references.
(28 May 1834)
A favourite Comic Song as sung with unbounded applause at the Western & Southern Theatres BY HIMSELF
Arranged for the PIANO FORTE by P. F. FALLON.
| BILLY BARLOW Oh ladies and gentlemen how do you do, I’ve come out before you with one boot & shoe I do not know how it tis, but some how tis so, Oh! is’n’t it hard up on Billow Barlow. CHORUS Oh! Oh! tragedy oh! now is’nt it hard up on Billy Barlow. As I was walking down street gist tother day, The people all gazed and some of ’em did say Why that fellow there, why he aint so slow Humph I guess not says a lady thats M. Barlow. They say there’s been a robbery committed in town, I don’t know who could have done it but Canker the clown I feel perfectly safe I’d have you to know I should like to see a man try to rob Billy Barlow. I went to the Races gist the other day, The man that keeps the gate asked me to pay Pay — says I — and looked at him so — O you can pass on, I know you, you are Billy Barlow. I had’nt been long you must know on the course, When the good people all flocked around me of course Asking who’s the gemman, does any one know, Why yes that’s the fat chap that sings Billy Barlow. Oh dear bless my soul I’m tired of this life, I wish in my heart I could get a good wife If there’s any young lady here in want of a Beau — Let her fly to the arms of young William Barlow. They say there’s a wild Beast show come to town, Of Lions & Monkeys & Porcupines too But if they start to show I’ll beat them I know For they ain’t got a varmint like Billy Barlow. They tried to buy me to go with that show, But the Monkeys got jealous & the Lions snapped at me too, The Hyena growled, and looked at me so Thinks I twill never do for you M. Billy Barlow. I’m sure I was born, but where I can’t tell, My Mother never told me I know very well But I’ve grown up that all of you know For perfection it self just look at Billy Barlow. There’s been a nigger here singing about a long tail Blue, But he ain’t a patching and that’s very true, If you want the cut of a coat or any thing so Just look at the rigging of Billy Barlow. The Tailors in town are all rushing after me, To get the cut of my clothes that’s plain to see But before they can get them I’ll just let you know They must spill out the rhino to M. Barlow. Dinah Ross, has reported that I’ve got married I wish here she had a little longer tarried If she had, I’d caught and choked her ges so, So don’t know how she has abused Billy Barlow. Oh ladies and genamem, I bid you good bye, I’ll get a new suit, when clothes aint so high My hat’s shocking bad, that all of you know Yet it looks well on the head of this Billy Barlow. |
| BILLY BARLOW (Published 1836, Geo. Endicott, NY) Now ladies and gentlemen how do you do I come out before you with one boot and one shoe I don’t how ’tis, but some how ’tis so Now isn’t it hard upon Billy Barlow O dear, raggedy o, Now isn’t it hard upon Billy Barlow Do show me a boarding house where I can stay I’m so hungry and sleepy, I eat nothing today They’ll not let me in, at Astor’s I know But a market stall’s vacant for Billy Barlow O dear, raggedy o, There’s a market stall vacant for Billy Barlow As I went down the street, the other fine day I met two fair ladies just coming this way says one “-now that chap, he isn’t so slow” “I guess not” says the other, “that’s Mr. Barlow” O dear, raggedy o, “I guess not” says the other, “that’s Mr. Barlow” I’m told there’s a show coming into the town Red lions and monkeys and porcupines brown But if they should show, I shall beat them I know For they’ve never a varmint like Billy Barlow…. Oh dear but I’m tired of this kind of life I wish in my soul I could find a good wife; If there’s any young lady here, in want of a beau Let her fly to the arms of sweet Billy Barlow…. No ladies and gemmen, I bid you good-bye I’ll buy a new suit when clothes ain’t so high my hat’s shocking bad, as all of you know but looks well on the head of Billy Barlow… |
| BILLY BARLOW Edward Clifford, 1863 Good evening, kind friends, how do you all do? ‘Tis a very long time since I’ve been to see you. I am a volunteer for the Union I go; And I’m down on Secession, is Billy Barlow. Oh! yes, I’m rough, I well know, But a bully old soldier is Billy Barlow. Since last I saw you, to Richmond I’ve been, And during my stay Mrs. Davis, I’ve seen. She treated me kindly, and smiled on me so. Old Jeff he got jealous of Billy Barlow. Oh! yes, I’m rough, I well know, But the ladies all like Mr. William Barlow. Now the other night, while out for a lark, I lost my way, it being quite dark. A sentinel grabbed me, to the guardhouse I did go Oh! That was too rough on old Billy Barlow. Oh! yes, I’m rough, I well know, But they should not abuse old Billy Barlow. Now I see on picket every time I go out, A nice little gal her name is Lize Stout. They say she’s Secesh, But I know that’s not so. For she’ll stand by the Union with Billy Barlow. Oh! yes, I’m rough, I well know, But a very good fellow is Billy Barlow. Now, there’s one thing I can’t help but to look at That is what keeps our Quartermaster so sleek and so fat It may not be good living but there’s one thing I know He’d get thin on the grub he gives Billy Barlow. Oh! yes, I’m rough, I well know, But I’m used to good living, is Billy Barlow. It’s down in Virginia at a place called Bull Run Where first our brave soldiers, their fighting begun It’s true they got routed but then you all know It was on account of the absence of Billy Barlow. Oh! yes, I’m rough, I well know, But a bully old soldier is Billy Barlow. Just a few words more then I shall have done And I hope what I’ve said you’ll take all in fun If I have not done right, why, please tell me so And I’ll bid you good night will Billy Barlow. Oh! yes, I’m rough, I well know, But I hope you’ll excuse poor old Billy Barlow. |
SAM COWELL’S BILLY BARLOW
Here follows the Britsih version, or at least some of the 48 verses as sung by Sam Cowell.
Harding B11 (3415), no date, Bodleian Library.
| SAM COWELL’S BILLY BARLOW Oh, ladies and gentlemen, how do you do! I’ve come here, you see, with one boot and one shoe; I don’t know how it is, but somehow is so- Now isn’t it hard upon Billy Barlow? Oh, dear, Oh, raggedy, oh! Now isn’t it hard upon Billy Barlow? There’s a cove in this town- of his name I can’t think- He’s a-trying to persuade people not for to drink; When he showed me his medal, says I “It’s no go; You can’t make a tee-totaller of Billy Barlow.” Oh, dear, Oh, raggedy, Oh! The cold water cure don’t suit Billy Barlow. I was offered a berth in Newhaven to-day, But I don’t like the job- I’m afraid it won’t pay; The fishwives wanted me to lie down, would you know, And let them scrape “Caller Haddies” on Billy Barlow. Oh, dear,Oh, raggedy, Oh! And spoil all the toggery of Billy Barlow. On the roof of an house, at the Mound, may be seen A statue stuck up, of our good little queen; Now the Provost and Council their good taste would show By building another for Billy Barlow. Oh, dear, Oh, raggedy, Oh! A slight testimonial for Billy Barlow. There are two water companies to Glasgow, just now; And ’bout which one is best they make a great row;- I said I’d take a look up to ten pounds or so, If they mix it with whisky for Billy Barlow. Oh, dear, Oh, raggedy, Oh; He’s fond of the “Islay” is Billy Barlow. The Queen as an Envoy once sent me to Spain, I knew so the honour of state to maintain; But the ladies all follow’d and flatter’d me so, The grandees got jealous of Billy Barlow. Oh, dear, Oh, raggedy, Oh! The gals were all “nuts” on young Billy Barlow. I told you some time since, in confidence here, That a long promised visit was then drawing near; For the Queen and Prince Albert to Auld Reekie would go, To pay their respects to young Billy Barlow. Oh, dear, Oh, raggedy, Oh! He’s a great royal favourite is Billy Barlow. I’ve been told as a fact, in the course of the year, That Miss Faucit will once more play Juliet here; If she wants a real slap-up Romeo, She ought to engage Mister Billy Barlow. Oh, dear, Oh, raggedy, Oh! She’d look well making love to young Billy Barlow. In Dublin I went to hear Catherine Hayes, And that lady most sorely deserves immense praise; The house was a reg’lar slap-up overflow- ‘Twould have suited the pockets of Billy Barlow. Oh, dear, Oh, raggedy, oh! And got some new toggery for Billy Barlow. Now that D’Orsay is gone I intend to appear As the leader of fashion in London this year; To Almeck’s next ball I shall certainly go, Just to give a notion of Billy Barlow. Oh, dear, oh, raggedy, oh! He’s a stunner at Polking is Billy Barlow. and on and on. |
THE MAYOR’S TEA PARTY
Following is a song about the annual Lord Mayor’s Ball (Sydney). This occasion inevitably created a scandal – who was invited and who was not etc. The interesting thing to me is that this song is ascribed ‘By the author of ‘Billy Barlow’ – (but which one!). It also uses the tune designated for several of the immigrant complaint songs.
From Colonial Melodies—No: 2.
| THE MAYOR’S TEA PARTY (Air: The King of the Cannibal Island) No doubt you read, the other day, “The Fancy Ball,” by Mr. Rae : So now a stave I’ll sing or say About the Mayor’s Tea Party. His Worship doesn’t dance, you see— With jigs and reels he don’t agree; But yet, inclin’d to have a spree, He ask’d the citizens to Tea’ French rolls by bushels, stale and new, With rounds of beef a score or two, And Garry Owen’s best sky-blue, Were at the Mayor’s Tea Party. Hokee Pokee—black and green— Ham and chicken—fat and lean— Oh! I such a spree was never seen As at the Mayor’s Tea Party! Oh! it ’twas a glorious sight to see Sir George, so affable and free, Who pledg’d the Mayor in “strong bohea” All at the grand Tea Party: And Lady G. was there a guest— While barristers, in big wigs drest, Were closely round the table press’d, And hob and nobb’d o’er “Houqua’s best.” M.C.’s the festive board, too, graced, And reverend doctors there were plac’d, Who pitched into the herring paste, All at the Mayor’s Tea Party. Hokee,pokee, &c. When all were filled with tea and cake, The band struck up “The Fairy Lake ‘ The singers now their places take All at the Mayor’s Tea Party. Then songs were sung, a watery lot— The streamlet wot flow’d round the cot— The Jolly Waterman” I wot— With many more which I’ve forgot; While councillors, ” blown out’ with tea, Popp’d into “Wyatt’s” (stealthily); And took their nips of eau de -vie, All at the Mayor’s Tea Party Hokee pokee, &c. The concert o’er. Sir George and suite, The Mayor, and many more retreat, I While ” three times three” their exits greet, All at the Mayor’s Tea Party. And when the ”swells” had gone away, The fun commenc’d without delay, For then each lad and lass, so gay, Did ” welt the flur” ‘till break of day. But mark the sequel of my tale— Next morning ” Busby’s bore” did fail, And water “riz” – “a brown” a pail – All through the Mayor’s Tea Party Hokee pokee, &c. [We have taken the liberty of borrowing the above humorous ditty from the cigar wrapper of Mr. S. J. Cohen, tobacconist, of 9, Kingstreet, Sydney.] Published in the Maitland Mercury. 1845 12 July |
BILLY BARLOW
Joy Hildebrand points to a much older song than any of the Billy Barlow songs that offers an insight into the origin of Barlow, pre Mother Goose. This is an English ritual themed song associated with the hunting of the wren. When reminded of this I recognised the same song from the repertoire of Simon McDonald, the Cresswick, Victoria, singer recorded by Mary-Jean Officer and Norm O’Connor. The song had Australian provenance.
| BILLY BARLOW Let’s go hunting, says Risky Rob Let’s go hunting, says Robin to Bob Let’s go hunting, says Dan’l to Joe Let’s go hunting, says Billy Barlow What shall I hunt? says Risky Rob What shall I hunt? says Robin to Bob What shall I hunt? says Dan’l to Joe Hunt for a rat, says Billy Barlow How shall I get him? says Risky Rob How shall I get him? says Robin to Bob How shall I get him? says Dan’l to Joe Go borrow a gun says, Billy Barlow How shall I haul him? says Risky Rob How shall I haul him? says Robin to Bob How shall I haul him? says Dan’l to Joe Go borrow a wagon, says Billy Barlow How shall we divide him? says Risky Rob How shall we divide him? says Robin to Bob How shall we divide him? says Dan’l to Joe How shall we divide him? says Billy Barlow I’ll take shoulder, says Risky Rob I’ll take side, says Robin to Bob I’ll take ham, says Dan’l to Joe Tail bone mine, says Billy Barlow How shall we cook him? says Risky Rob How shall we cook him? says Robin to Bob How shall we cook him? says Dan’l to Joe How shall we cook him? says Billy Barlow I’ll broil shoulder, says Risky Rob I’ll fry side, says Robin to Rob I’ll boil ham, says Dan’l to Joe Tail bone raw, says Billy Barlow |
OLD TREMONE
In the late 1950s folklore collectors led by Norm O’Connor recorded the repertoire of Simon McDonald (National Library Collection) including the following as mentioned in regard to the previous song:
| OLD TREMONE “Where are you going?” said Old Tremone, “Where are you going?” said Andrew Roan, “Where are you going?” said Brother-we-Three, “I’m going to the fair,” said Cricket-to-Wee. “What to do?” said Old Tremone, “What to do?” said Andrew Roan, “What to do?” said Brother-we-Three, “I’ll buy a pig,” said Cricket-to-Wee. “Who’ll bring him?” said Old Tremone, “Who’ll bring him?” said Andrew Roan, “Who’ll bring him?” said Brother-we-Three. “I won’t,” said Old Tremone, “I won’t,” said Andrew Roan, “I won’t,” said Brother-we-Three. “I’ll bring him myself,” said Cricket-to-Wee. “Who’ll kill him?” said Old Tremone, “Who’ll kill him?” said Andrew Roan, “Who’ll kill him?” said Brother-we-Three. “I won’t,” said Old Tremone, ‘I won’t,” said Andrew Roan, “I won’t,” said Brother-we-Three. “I’ll kill him myself,” said Cricket-to-Wee. ‘Who’ll eat him?” said Old Tremone, ‘Who’ll eat him?” said Andrew Roan, Who’ll eat him?” said Brother-we-Three. “I will,” said Old Tremone, I will”, said Andrew Roan, “I will”, said Brother-we-Three, “Not a bit will you get”, said Cricket-to-wee” “I’ll eat him myself, “ said Cricket-to-Wee |
BILLY BARLOW – FRAGMENTS
Joy located three Billy Barlow song references in New Zealand newspaper archives but, to date, no verses. (reference http://paperspast.natlib.govt.nz/cgi-bin/paperspast)
Black Billy Barlow
Billy Barlow’s Dream
New Billy Barlow
In an email 2008 Joy mentioned a Mr Harry Jackson — 1857. Jackson seems to have run a pub in Dunedin and he played the Billy Barlow character and sang topical versions of his song. Here’s Jackson using topical references about a local election:
Tom Murphy he says, having silenced these brawlers
Carbuncle Jack is surrounded by crawlers
Oh dear me it’s sad and a terrible go
I’ll lend him a — trap says Billy Barlow.
If you have additional songs or fragments to add to this collection please forward them to wfahey@bigpond.net.au
Let’s keep Billy Barlow spinning!
– Warren Fahey 2008
This Book is Dedicated to the Memory of:
Jack Reeve
Sam Cowell
George Coppin
Robert “Billy” Barlow
Along with the Many Other Billy Barlows of the 19th Century
Come all you chanting vocalists that warbles high and low, sirs
A yard and a half of music buy, that is of Chaunting Joe, sirs.
Here’s love songs and comic songs, and songs of every nation
And if you wait an instant, you shall have them in rotation.
A chaunt-seller I am by trade, as through the streets I trudge it.
Songs you’ll find of every kind, I carry in my budget.
Here’s Doctor Brown and Alice Grey, Going to the Nore, sir,
With Billy Barlow and Crazy Jane capering on the shore, sir.
Why did I love lost Rosabel? She’s Bolted with Another.
The Man vot wears a Mackintosh, Well, Spooney, how’s your Mother?
Here’s the Nobby Waterman, Doing the Agreeable,
With the Maid of Judah, Out of Place, Upon the Parlor Table.
At close of Day, bid me discourse The Pleasures of the Pipe, sir.
O, say not woman’s heart is bought with half a yard of tripe, sir.
I’ve been roaming through the woods All night upon a spree, sir,
With the Girl I left [behind] me, out on the open sea, sir.
It was in The Merry Month of May, Upon the Rigs of Barley,
Gayly we danced down Wapping Stairs, Over the Water to Charlie.
If I had a Donkey wot wouldn’t go, All around the Room, sir,
I saw her at the Fancy Fair, with a shovel and a broom, sir.
I’ve journeyed over many lands, with The King of the Forest Glade, sir.
Does your Mother know you’re out, with The Mountain Maid, sir?
Come, Landlord, Fill a Flowing Bowl! Begone, I say, Dull Care, O!
The Flag that Braved a Thousand Years, At a Country Fair, O!
When a little Farm we keep, On the Banks of Allan Water,
Solomon Loh, he lost his nob, with The Ratcatcher’s Daughter.
Here’s The Parson’s Clerk, The Cove wot Sings Amen, besides a medley,
You’ll find The Lass of Richmond Hill, along with Arthur O’Bradley.
And there you have The Gypsy Girl, going to Chelsea to buy a bun, sir,
Rory O’Moore going out shooting, with my master’s gun, sir.
Now’s the day and now’s the hour, Pretty Little Sally.
My Ellen is the fairest flower: She lives in our alley.
Tell me when, and tell me where, how to spend a dollar,
In the days when we went lushey home, with Glorious Apollo.
Here you see The Vorkhouse Boy, likewise The Overseer, sir,
Going out a-Gypsying with The Jolly Buccaneer, sir.
Come, let us dance, dance and sing, Mr. and Mrs. Wrangle!
Child of the Earth, with the Golden Hair, Has your Mother Sold her Mangle?
Love was once a little boy, yet never go a-Tossing.
I am over-young to marry yet The Man vot Sweeps a Crossing.
Meet me at the Garden Gate, A Fig for Pride and Riches!
Pray, Goody, please to Moderate Hodge’s Leather Breeches!
Far from me my True Love Flies — Sound the Trumpet boldly!
Drink to me only with thine Eyes! I am a Fashionable Coaley.
We met Bill Jones and Sarah Spykes; Lasses Love the Sailors.
Tom Bowling, What’s a Woman like? The Devil among the Tailors.
Ben Block, she never told her love, going our a-shooting.
Mother, Give your Boy a Buss, A Chapter upon Kissing.
You Gentlemen of England, We’ve lived and loved together.
God bless Prince Albert and the Queen, and may they reign forever!
BIRT, Printer, 39, Great St. Andrews Street. Seven Dials
Printing of every description done cheap.
My grateful thanks go to my husband and Dear-Companion, Hildebrand.
(A.B. in Classics from Harvard, graduate studies in Linguistics at Indiana University)
for editing, for proofreading, and for listening. Hildebrand has the precise mind of an academic,
the heart of a sentimental poet, and the soul of an artist.
I thank him for exercising all three in helping with this book.
My special thanks also to my dear cousin Joan for her love, support and help.
I also owe my heartfelt thanks to so many friends old and new, among them:
Greg O’Leary, Helen Cahun, and Holly for their enthusiasm about the project and their hospitality. Also to O’Leary for his help with questions about fiddle-playing and dance-tunes generally and, in particular, about mimicry and funny noises played on the fiddle.
Fay Pasky for using her holiday time, in Gympie, to search out information about Robert “Billy” Barlow.
Martin Forster for showing me how Billy Barlow might have played his Locomotive Overture on the banjo.
Fred Pribac for his thoughts on early banjo-playing in Australia.
Doug Wallace who told me about his touring-player ancestors.
Cindy, my new friend in America, great-granddaughter of a Billy Barlow, who is so interested in the book and thinks I’m wonderful.
Rob, the Bloke from Forbes, for sharing the recordings of his Girls, and for sharing his knowledge of Australian songs and singers.
Bill and Mark Thomas of Queensland, who kindly allowed me to tell the story of their Billy Barlow.
Rachael Harrison, reference librarian at the Cooloola Library in Gympie, Queensland, who kindly sent me information about Robert “Billy” Barlow.
Loelene Harrison at the Nambucca District Historical Society, for the information about the showboat called Billy Barlow.
Hilary Griffith at the Castlemaine Historical Society for the newspaper article about Billy Barlow and the old days in Castlemaine.
The staff at the State Library of Victoria in Melbourne, who were so helpful in teaching me how to use the system and the equipment.
The staff of Hamilton Library. This library obtains, for the use of the public, books from other libraries, and absorbs a large part of the cost.
Tell me the tales that to me were so dear
Long, long ago. Long, long ago
Sing me the songs I delighted to hear
Long long ago. Long ago.
Thomas Haynes Bayly
My Dear Billy Barlow,
the Raggedy Clown, wandered into my life about three years ago, although I’ve known about Billy Barlow the Rat-Hunter for about forty years. On the surface, Billy Barlow, in both of these manifestations, is a fairly ordinary sort of a character, but I can spot the Shape-Changer. That ability is part of the Gift bequeathed to me by my special grandmother. The Gift is not to do with being good or clever, nor is it controllable. There’s more to it than that, but it’s enough for now.
Anyway, the more I found out about Billy Barlow, the more interesting he became to me.
Also, I started to find him Everywhere
His friends and acquaintances were old friends of mine too, friends I’d come to know from the old songs and stories that have been part of my life for as long as I can remember. Finding references to Billy Barlow’s name was the starting point for many a journey into the world of the 19th century. I found the Street-People of Victorian London, whose stories were recorded, in their own words, by Henry Mayhew. There was Billy Barlow, right there among them, singing his songs, dancing and clowning for a few pennies. Around him were the flower-sellers, the rat-catcher, the man who swept a crossing, the exhibitor of a dancing bear, the hundreds and hundreds of poor workers who were to keep reappearing as I explored Billy’s world.
I kept thinking about Darwin’s descriptions of Galapagos finches. London’s poor workers were so specialized that the street-clown who impersonated, say, Jack Pudding * did not do Silly Billy or Billy Barlow, — not until that niche was empty, anyway. The man who collected dog droppings left the horse manure for another worker. The rat-catcher, who knew everything about his prey, down to the minutest detail, hunted only rats. This did not mean that performers did not play all sorts of roles when they found work acting in the penny theatres. It was just that on the streets there was a strict code of practice.
Next, I searched the world of 19th-century theatre, from the early music-halls and taverns to the stages of the “legitimate theatre”. Billy Barlow was everywhere there, although he was considered to be suitable fare for only the lower classes. Some of the 19th century’s biggest stars sang his songs, and played his character, from time to time. For two actors — the great Sam Cowell and the equally great George Coppin (the “Father of Australian Theatre”) — Billy Barlow was the most popular character they played. He was impersonated by both of these actors from the beginnings of their respective adult stage careers until their respective deaths. Billy Barlow may have been played by Jack Reeve for all of his stage life too, but I can’t confirm that.
Reeve died young — in 1836 — before Billy Barlow became really popular.
He may have been the very first Billy Barlow! — but I can’t confirm that either.
In London, Billy Barlow undoubtedly rubbed shoulders with: Charles Dickens, Henry Irving, Bram Stoker, Thomas Moore, Edmund Keen, William Blake, and Charles Dibdin and his sons, to name just a few. He performed for Queen Victoria many times.
In America he met everyone in the acting world and a great many of the prominent citizens, including President Lincoln. He fought with the Union in the Civil War.
In Australia, Billy Barlow was associated with the theatre from the early days, mainly because of George Coppin. It was here that he met and influenced James Tucker, the convict writer. He also met most actors and actresses who toured Australia in the 19th century, including Lola Montez and Gustavus Vaughan Brooke.
Robert “Billy” Barlow, the England-born Minstrel, also left behind a few tantalizing clues about his life as an Australian performer in the 19th century. I took many a wonderful side-trip into the world of the 19th-century printers of the broadside ballads. Billy Barlow has his roots — or some of them — here. I especially liked Jemmy Catnach, the printer who made famous the “Goodnight Ballads”. Other paths led me to showboats, brass bands, clown-types, ballooning, American Civil War sabres, Barlow knives, Great Dismal Swamp, and musical instruments made of stone.
I asked everyone: new friends, old friends, and perfect strangers,
“Do you know Billy Barlow?”
Everyone has heard of him, but no one remembers who he was. One elderly ex-soldier told me, “Well the name is familiar, but he wasn’t in my regiment”. Another new friend sang me a little piece of a Billy Barlow song. I never did find where it fitted into the Billy Barlow story. I had other friends play me the Billy Barlow tune and give me their opinions about it. I had them experiment with different sounds on different instruments. I made contact with people on the Internet who had connections with a Billy Barlow. I shared their stories, and became friends with people I will probably never see.
This book is the result of a Quest to find Billy Barlow — in his many manifestations, and a compulsion to sort out the tangle he has left behind. It is not, for all my searching, the end of his story.
With Fondest Regards,
Joy Hildebrand 2003
* Jack Pudding is the English form of a European Clown-family of Food Clowns. Relatives are:
- Jean Potage from France
- Macaroni from Italy
- Hanswurst from Germany
- Pickelhering from The Netherlands.
Book Chapters
Read the book here.
HALL OF FAME – LEGENDARY AUSTRALIAN PERFORMERS
Over the decades Australia has produced some wonderful ‘home-grown’ talent, many of them moving on to the international stage. It is interesting to note that in the 21st century some of the world’s most successful actors are Australian. In the 1980s I commenced releasing some of the pioneer artists on compact disc as the Yesterday’s Australia Series.
Wherever possible I have noted any references whereby I have first–hand knowledge of the artist. I would invite readers to contribute their own suggestions as to other artists who should enter this Hall of Fame (200-300 words and an image would be ideal)
Music Hall
Florrie Forde
Billy Williams
Albert Whelan
Variety Stage
Roy Rene
Nat Phillips
Early Recordings
Nellie Melba
Peter Dawson
Radio
Jack Davey
Bob Dyer
Willie Fennell
Reg Lindsay
Smoky Dawson
Country Music
Tex Morton
Chad Morgan
Slim Dusty
HALL OF FAME
AUSTRALIAN PIONEER ARTISTS
MUSIC HALL
VAUDEVILLE
RADIO
COUNTRY & WESTERN (see separate section of site)
FOLK MUSIC (see separate section of site)
JAZZ & SWING
Over the decades Australia has produced some wonderful ‘home-grown’ talent, many of them moving on to the international stage. It is interesting to note that in the 21st century some of the world’s most successful actors are Australian. In the 1980s I commenced releasing some of the pioneer artists on compact disc as the Yesterday’s Australia Series. Wherever possible I have noted any references whereby I have first –hand knowledge of the artist
THE STARS OF AUSTRALIAN STAGE & RADIO
There was a time in Australia at the end of the 19th and beginning of the 20th centuries when the Music Hall ruled supreme. These ‘people’s palaces’ were to be found in all major Australian cities and they all boasted their stars. Every Saturday night saw lines snaking their way to these doors as the Music Halls opened to entertain the working class with monologues, parables, singalong songs, and mountains of corny comedy. The audience booed and cheered at the right spots, and well did they know them because the Music Hail lured them back, week after week. It is fascinating to learn that some of the world’s greatest stars were in fact Australian. I am indebted to the work of Melbourne theatre historian Frank Van Straten, former Director of the Performing Arts Museum at the Victorian Arts Centre, for his background notes to my compact discs of early Australian stage and radio. CDs are listed in the site’s ‘general store’.
The Music Hall tradition came out of the old community halls and rowdy houses where singers entertained the masses. These were ‘rough- house’ show’s that were always considered the entertainment ‘of the people’ and artists were very careful to pitch their repertoires to the right audience ‘for the people’. A bit of ‘haughty tautey’ would see the performer ridiculed right off the stage. Australia had a thriving Music Hall with the Tivoli and Gaiety Theatres being the premier venues. This was the very same stage that first saw the likes of George Wallace and the remarkable Roy ‘Mo’ Rene to mention only two outstanding artists. Australia grew up with its own brand of musical theatre that most probably saw the first light of the day in the fledgling colony and its performance of ‘The Recruiting Officer’ and really hit the spotlights during the goldrush days of the 1860’s when all manner of travelling entertainment flourished. American ‘blackface’ minstrel shows were extremely popular, Oompa-pa German bands toured, Charles Thatcher ‘The Colonial Minstrel’ composed and performed his popular songs and ‘femme fatales’ high-kicked and warbled their way across many of the goldfield stage. In the ‘big smoke’ of the cities, particularly Melbourne, Sydney and Brisbane, a never-ending parade of ‘imported’ artists shouldered their way to the spotlights of the larger halls. Australian performers with their defiant ‘we can do that’ attitude also ‘shouldered up’ to the stage and took their rightful place. Our Music Halls became the number one destination for popular entertainment and every major capital sported a tiered theatre that had them singing and shouting in the aisles. The popularity of these weekly singing sessions cannot be underestimated as they were certainly the major launching pad for songs. The audiences were starving for good songs and loved nothing more that a rowdy chorus or a tear-jerker. The enormous sales of songbooks, especially those of the music hall publisher, Joe Salter, and the Tivoli Songsters testify to this market. Individual artists like Billy Williams had their own songbooks published locally as well as in England. Sheet music was also popular in sales of Florrie Forde’s songs with piano arrangements were big business for her publishers.
Nowadays we can do little but reminisce and imagine what the atmosphere must have been like in those music halls. This wonderful recording celebrates the golden era of the music hall and the Australians who contributed so much to its life. (Warren Fahey)
The following list is NOT the comprehensive roll call of pioneer Australian talent however it does feature some of the best-known artistes.
Florrie Forde, recognised as the world’s greatest chorus singer, hailed from Victoria, as did Albert Whelan and half of Flotsam and Jetsam. Whilst the favourite songs appeared time and time again there was also a lot of new local material injected into the Music Hall programming. The Tivoli Songsters (publication explained elsewhere on this site) show that the artists were not afraid to add some political comment and most of the political leaders of the day ended up being lampooned in song.
Hand in hand with the death of Music Hall came the growing strength of radio as the ‘people’s entertainment’. It also was cheap and, best of all, you could actually sing along and laugh along with your favourite Music Hall stars as they defected, one by one, to the wireless auditorium. Eventually the Music Halls shut their doors for good, for radio had won the day.
Variety! It’s a word that once sparkled with chaser lights as it welcomed patrons into dozens of theatres across Australia. Variety had its origins in music hall and it was staple live entertainment for thousands of Australians from the Twenties until the demise of the Tivoli Circuit in 1966.
The Tivoli was Australia’s premiere variety chain. It was founded by Harry Rickards, a cockney comic singer, in the 1890s, and survived for seventy years by presenting only the very best international and local acts. There were other variety circuits, of course. Fullers had a vast circuit covering Australia and New Zealand. Relying less on imported acts, it was Fullers that provided a training ground for that remarkable generation of Australian comics such as Roy Rene (“Mo”), George Wallace and Jim Gerald. There were local circuits, too, notably Harry Clay’s in and around Sydney, The Cremorne in Brisbane and companies like Sorlie’s touring the countryside under canvas.
Their individuality and their material distinguished variety artistes. In those pre-television days, artistes could present the same act for years, honing it to magical perfection in front of a succession of live audiences. Thanks to the enterprises of managements like the Tivoli, Australians saw much of the world’s best variety talent. Some imported artistes elected to stay here and they became part of the local scene. And some Australian performers found new audiences overseas.
Variety performers came in all shapes and sizes. The profession embodied singers, comedians, acrobats, ventriloquists, dancers, male and female impersonators, animal acts, magicians, mind readers, strong men, jugglers, lightning artists, whistlers, child stars and even actors from the legitimate stage in playlets and recitations.
Fortunately for us, many variety performers made recordings. These precious and often rare 78s preserve a gentle art from an era of innocence, reflecting values and a way of life long gone.
GEORGE COPPIN. Coppin, born in England in 1819, came to Australia in 1843 was one of our earliest and most successful entertainers and impresarios. He is most likely the original ‘Billy Barlow’ and most certainly the best-known of the Australian ‘Billy Barlow’ characterisations. He died 1906. have been undertaking extensive research into Coppin’s ballad composing/performing persona and this will be available in a separate section of this site. A book does exist on his more conventional theatrical life
FLORRIE FORDE Australian-born Florrie Forde was undoubtedly the world’s greatest chorus singer and this most probably contributed to the fact that she was widely held to be the ‘most loved’ of all the music hall stars. She was born Florence Flanagan in Fitzroy, near Melbourne, in 1876, with her first performance being at the Polytechnic Sydney in 1863 where she sang ‘He Kissed Me When He Left Me And Told Me I Had To Be Brave’ (they don’t write songs like that anymore! W.F), and in 1894 she became a member of the Dan Tracey Variety Company. The following Christmas she sang and danced in the chorus of George Reynold’s pantomime at the Theatre Royal, Sydney, and was re-engaged the next year to play the first of a long career of principal boys! At one stage she toured extensively with Harry Rickards company billed as ‘The Australian Marie Lloyd.’
Florrie Forde’s first appearance in England was at the London Pavilion on the 2nd August, 1897, playing the same night at the Oxford and South London Palace! Described as the ‘female epitome of music hall gusto’ she was apparently a fine buxom woman, splendid in feathers, sequins and tights. Walking up and down the stage, she kept time with her jeweled chorus stick, leading the audience in one after another of her famous songs. And famous they were – ‘Oh, Oh, Antonio’, ‘Pack Up Your Troubles In Your Old Kit Bag’, ‘Down At The Old Bull And Bush’ and ‘She’s A Lassie From Lancashire’, Florrie was recognised as having an uncanny knack of picking out ‘hit songs’ and it was a great disappointment that ‘Tipperary’ failed to be a hit, just before the first World War. In 1914 she revived the song for her annual shlep as a pantomime ‘principal boy’ and it became a favourite overnight success. Florrie Forde died suddenly on 18th April, 1940, after performing for the Royal Navy at a wartime matinee show in Aberdeen.
In a tribute to this great artist Dame Nellie Melba spoke of Florrie Forde as “having a voice of true Australian quality that might have been trained for the opera but which, instead, had given great pleasure to a far wider audience.”
CYRIL RITCHARD was born in Sydney in 1898. He and his wife, the beautiful Madge Eliiott, made their careers largely overseas. They were especially popular in London where, in 1940, Cyril appeared in the revue Up and Doing at the Saville Theatre, from which comes his marvellously self deprecating show-stopper – The Oldest Chorus Boy in London. Ritchard’s characterisation remains superb, even though some of the song’s topical references may be a little obscure today – for instance, the George Edwards to whom Cyril refers was a great London producer, not the Australian artist. Ritchard’s later years were spent in the United States where he appeared in plays, musicals, films and even produced for the New York Metropolitan Opera.
GEORGE EDWARD’S real name was Harold Parks.
Born in Kent Town, SA. (1886), his early stage experience included a London engagement with George Edwards, whose name, minus the final E, he eventually adopted. He travelled Australia in concert parties, pantomime and vaudeville before starting in radio in 1931. Soon he was known as “the man with a thousand voices”. In 1937 he and his wife, Nell Sorting, launched the long- running serial Dad and Dave, in which Edwards played Dad as well as several other male characters. Edwards sang (eccentrically as Dad) one of the several “Snake Gully” themed songs by Jack O’Hagan.
NAT PHILLIPS AND ROY RENE teamed up in 1916, as Stiffy and Mo, thereby creating the greatest comedy double act in Australia’s history. In spite of a couple of temporary splits it was a partnership that lasted until 1928. Though their larrikin comedy was – and remains – legendary for its robust humour, me routine preserved here is, in Mo’s words, “a lovely, clean, clever, refined story”. The female voice is that of Daisy Merritt, Nat Phillips’ wife. Interestingly, in 2004, the Queensland University Library was given Phillip’s manuscript collection of scripts, memorabilia, photographs, leaflets and letters.
SADIE GALE was married to Roy Rene, and an artist in her own right.
JENNY HOWARD came to Australia (from London) with her husband Percy King in 1929, under engagement to the Tivoli Circuit. Jenny and Percy returned in 1940 and made their home here. Jenny starred in a succession of morale-boosting wartime Tivoli revues and was a popular pantomime principal boy. Although she appeared in the musical Pippin in 1974, Jenny’s appeal was essentially as a variety performer. Her act changed little over the years. The square-dance song ‘Oh Johnny! Oh, Johnny, Oh!’ was one of her favourites. It was a favourite in the Fahey household.
JOHN HENRY, a Yorkshire comic, came to Australia for variety and radio engagements in the early 1930s. In Britain, he had the distinction of being the first comedian to become a national personality through radio. He and his partner, Gladys Horridge, made many recordings. They cut two in Sydney, including one about the Sydney Harbour Bridge, then fast nearing completion.
BILLY WILLIAMS, born in Melbourne in 1878, spent most of his short performing life touring me music halls of Britain and making recordings in London. He hit the stage in 1895 when he joined a small variety company touring the outback towns of Australia. On his return to Melbourne he appeared regularly for Harry Rickards who then arranged a ‘letter of introduction’ which led to Billy’s first London appearance at the Marylebone Music Hall in 1900.
Unlike his contemporaries Billy Williams refused to use the rather grotesque make-up and exaggerated costume of the usual comic singers preferring to appear in a well cut velvet suit which eventually became an important part of his stage act. His voice reproduced well despite the primitive recordings of the time. He is said to have made over 500 sides, usually finishing with the informal spoken sign-off as heard here. Billed as “The Man in the Velvet Suit”, Billy Williams returned to Australia for a Tivoli tour in 1910. He died in England five years later, aged only 37. Best known as a dapper performer – ‘The Man In The Velvet Suit’ Billy was born in Melbourne in 1878 and first hit the stage in 1895.
MINNIE LOVE was born in England. Starting as a child actor she went on to appear in music hall and pantomime. In 1914 she was brought to Australia by J.C, Wiiliamson’s. Two years later, in a show called The Cinema Star, she successfully introduced the song A Broken Doll. Minnie Love continued to work until the late 1950s in a succession of musicals, revues, dramas and comedies.
CLEM DAWE AND ERIC EDGLEY – Brother comedians (real name White) came to Australia from England in 1920. They toured here for many years with their Midnight Frolics revue. In 1935 Clem and Eric took an all-Australian company to London with disastrous results. They settled here during the Second World War and for some time were resident funsters at radio 3DB in Melbourne where another brother, Les White, was studio manager. Eric (“Mick”) Edgley went on to found me international theatrical enterprise that still bears his name.
PAT HANNA’S entertainment career began in Germany when he was placed in charge of entertainment for the New Zealand army of occupation. He founded a concert party called The Diggers which, following de-mobilisation, toured Australia and New Zealand with enormous success and provided the basis for two early Australian sound films, Hanna’s topical comic monologues and songs were popular on record and over the air. Born on 18th March 1888 at Whitianga, New Zealand. Like many Kiwis he joined the New Zealand Expeditionary Force in 1914 where he later became ‘recreational and entertainment officer’ organising the Diggers Concert Party, writing, acting in and producing the shows. Led by Hanna they performed in France, England and North America. In 1919 they toured New Zealand and a year later they appeared in the main cities of Australia for J.C. Williamson. They were billed as ‘Pat Hanna’s Famous Diggers’ and toured Australia for the next ten years! Hanna’s versatile characterizations and lightning sketching were among the main attractions. Pat Hanna made several recordings of his humour monologues including ‘The Gospel According To Cricket’ and ‘Mademoiselle From Armentieres’ and also spent some time as an ABC radio announcer on Melbourne’s 3LO (see the Cricket section of Sport in this site for Pat Hanna’s ‘Cricketisms’ recording.)
SYD HOLLISTER appeared in pioneering Australian sound films. He was better known, however, as a variety comedian with a penchant for donning pantomime dame Style drag. Late in his life he was a regular in the HSV-7 television variety show Sunny Side Up; he and race-caller Bill Collins, dressed as bedraggled suburban housewives, would gossip about the week’s events in a much-loved segment called Over The Back Fence.
JACK 0’HAGAN was Australia’s first really successful songwriter, although he never managed to surpass the success of his 1922 hit Along the Road To Gundagai Jack possessed an amiable light baritone and he broadcast and recorded frequently In his later years, he turned out hundreds of catchy jingles for radio and television.
DOROTHY FOSTER AND RITA PAUNCEFORT formed their Ada and Elsie comic double act in the early 1940s. The concept was based on the English Gen and Daisy characters, but they quickly developed an individuality and cheekiness all of their own. Ada and Elsie remained on air until television swept variety from the airwaves in the 1950s.
CHARLIE VAUDE had his first big success on the Tivoli Circuit in 1909 with his partner. Bill Verne. Bill was the straight man and Charlie provided all the gags and songs. When they split up, Charlie joined radio station 3DB where he established a new partnership with Renn Millar. Charlie and Renn were especially popular as Mr Bones and Mr Interlocutor on 3DB’s long-running Minstrel Show; Charlie Vaude remained the most loved personality on Melbourne radio from the late 1920s until his death in 1942.
SID BECK first played the Tivoli Circuit in 1926. He had a swag of novelty songs and quaint characterisations, including the occasional droll female voice. Audiences took him to their hearts and Beck could have ranked with Roy Rene and George Wallace. Sadly, however, his alcohol addiction ruined his career; Sid Beck died destitute in Brisbane in 1948, at the age of 50.
REX (‘WACKA”) DAWE is best remembered for the long-running radio comedy series Yes, What? One of the few nationally-aired programmes to emanate from Adelaide, Yes, What? was based on Will Hay’s famous English school sketches. Dawe refined the concept and kept it running from 1937 for some 400 hilarious episodes, with the support of his sponsors, the makers of Mortein insect spray. Dawe was Dr Pym, the bumbling, irascible master, while his hapless pupils included Jim Williams as Stanforth and Ralph Peterson as Bottomley. Peterson went on to great success writing and producing for radio, television, film and the stage.
NELL FLEMING first came to the fore in the English revues that were popular fare at the Tivoli in the years following the First World War. She also toured with Jack Waller’s Butterflies revue company and in the early 1930s had featured roles in Francis W Turing’s pioneering Melbourne-made “talkies”.
DICK BENTLEY started his career as a band singer in Melbourne. He achieved some success in England before the Second World War but he returned to Australia where he became extremely popular in wartime radio variety shows. He went back to London to star in the BBC’s Take It From Here with fellow-Australian Joy Nichols and Jimmy Edwards. The show ran from 1948 until 1959. Bentley settled in London, making occasional guest appearances on film and television.
DAN AGAR had a distinguished career on the London stage before coming to Australia for J.C. Williamson’s to star in The Bing Boys on Broadway and The Passing Show. Born in Birmingham, he settled here in 1929 and worked extensively in radio. In 1934 he and Athol Tier teamed in the tide roles of Mrs ‘Arris and Mrs ‘Iggs, a “drag” comedy series that ran for years. This was followed in 1941 by the beloved Mrs ‘Obbs in which Dan Agar starred until his death in 1950.
NELLIE KOLLE’S stylish male impersonations were extremely popular on the Fuller variety circuit, English-born, she was often compared to London stars such as Vesta Tiiley and Heny King, but she wrote much of her own material- Nellie appeared at the Tivoli in the 1940s, settled in Adelaide and worked regularly at the Olde King’s Music Hall there until shortly before her death at the age of 80 in 1971.
MIKE CONNON AND FREDDIE WITT were an American comedy duo brought to Australia by the Fuller Circuit. Connors married Australian singer Queenie Paul; they formed a double act and produced revues for Fuller’s. In 1931 Mike and Queenie revived the Tivoli Circuit, which had closed because of the Depression. Later, Mike’s folksy humour brought him popularity on Sydney radio. At the ABC he was featured in Out of the Bag and hosted the Breakfast Session until his death in 1949.
ROY RENE. After the end of the Stiffy and Mo partnership, Roy Rene continued as a solo act and sketch comic on the Tivoli Circuit. In 1946 he joined the Colgate Palmolive Radio Unit and, contrary to expectations, immediately conquered the new medium. The McCackie Mansion series started the following year and lasted until ill-health forced Roy Rene off the air in 1953, shortly before his death. He often worked with his wife, the indefatigable Sadie Gale.
GEORGE SORLIE grew up in Australia and was originally of West Indian ancestry. He began his stage career at the age of 14, working for Clay’s and the Tivoli Circuit. He joined Phillip Lytton’s touring tent show in 1917, buying it and renaming it Sorlie’s in 1923. Sorlie’s toured extensively through New South Wales and Queensland; the show survived George’s death in 1948 and finally closed in 1961. Sorlie made dozens of commercial studio recordings but they do not capture the essence of his act as well as his marvellous live radio performances.
HUMPHREY BISHOP, known as ‘The Showman’. Born in 1884 in London, Bishop had sung as a basso at Covent Garden. He established the AWA Light Opera Company at Radio 2CH and produced a string of lavish musical shows featuring some of Australia’s greatest musical stars.
FRED BLUETT’S father and great-grandfather had been comedians, and Fred made his stage debut in London aged three. His first Australian appearance was for the Tivoli Circuit in 1902. He was a genial, knockabout comic, equally at home as a pantomime dame. In 1909 he introduced a sketch in which he played a scoutmaster with a line of eager youngsters including his son, Gus. He took this act to London with great success. On his return he teamed for a while with Roy Rene but he was more successful as a solo act. Gus became one of Australia’s greatest musical comedy stars and Fred’s daughter, Kitty, achieved great popularity on radio in both Australia and England.
JACK DAVEY arrived in Australia (from New Zealand) in 1932 and quickly got a job at 2GB as a Crosby-style crooner. Soon he was compering the Breakfast Session where his jaunty, informal style earned him a devoted following. His first quiz show was That’s What You Think; before long there were many others, including the immensely popular Give It A Go. Davey tried to transfer his shows to television but by then he was very ill and looked frail and drawn. He died in 1959 and more than 15,000 people filed past his casket. One of radio’s most popular segments was the Dr Davey radio comedy sketch and featured Jack with two variety stalwarts, Al Thomas and Kitty Bluett.
BEBE SCOTT, the diminutive radio actor,was the half-sister of comedian George Wallace. She and her husband, George Randall, were featured for five years as Cap and Bebe in the ABC Children’s Session in Brisbane. Bebe and George also worked in radio drama and during the War years Bebe created the character of “that troublesome child” in the great ABC wartime radio variety series Out Of The Bag. Bebe was later cast as Mrs Bottomley’s young niece, Blossom, in the long-running comedy serial Mrs ‘Obbs.
ALBERT WHELAN Yet another Melbournian! Albert was born Albert Waxman in 1875 and is credited as being the very first artist to use a signature tune. He gave up his job as an accountant, and then as a mechanic, and in 1898 he and a friend went to make their fortunes in the Coolgardie goldfields of Western Australia, but instead of striking it rich were forced to earn a living as amateur entertainers singing and playing the fiddle as ‘Whelan and Wilson’. On Albert’s return to Melbourne he joined the first Australian production of ‘The Belle Of New York’ and began to appear on small-time variety shows. Deciding to make the move to London his first appearance was made as an ‘eccentric dancer’ at the Empire on Leicester Square, 1901. He next secured the role of Ichabod Bronson in a revival of ‘The Belle Of New York’ at the famed Adelphi Theatre. As a Music Hall performer he presented himself as a debonair ‘ man about town’ strolling on to the stage and whistling ‘The Jolly Brothers Waltz’ as he casually removed his gloves, top hat, white silk scarf, coat and cane. With perfect diction he would then sing a ballad, musical monologue, and a comic song, of which ‘The Poacher and The Bear’, ‘The Butterfly And The Bee’ and The Old Top Hat’ were among his favourites. He was an accomplished pianist, believable story-teller and terrible punster! Just as his entrance took three minutes, so did his exit. Glancing at his watch he would casually dress and commence trilling his now famous signature tune as he departed the stage.
Whilst appearing at the London Pavilion he was ‘spotted’ by an American vaudeville agent and booked to appear in New York in 1908. A great success, he returned to the USA the following year and all the time billed as ‘The Australian Entertainer! In 1912 he appeared with Anna Pavlova in a series of special matinees at the Palace Theatre. His first Royal Variety appearance was in 1927 and four years later he teamed up with Billy ‘Almost A Gentleman’ Bennett in a highly successful ‘black face’ act as ‘Alexander and Mose’. Albert Whelan made several attempts to change his act even to the extent of advertising ‘no hat, no coat, no gloves, no whistle’ but the fans demanded he retain everything! He died in 1962.
B.C. HILLIAM and MALCOLM McEACHERN
Better known for their hugely popular double act of ‘Flotsam and Jetsam’ which they introduced on stage with a song that ran:
We’ll tell you our names,
In case someone forgets ‘em,
I’m Jetsam (I’m Flotsam)
He’s Flotsam (He’s Jetsam)
We want them to be recognised
By anyone who spots ‘em
I’m Flotsam (I’m Jetsam)
He’s Jetsam (He’s Flotsam)
Flotsam and Jetsam!
B.C HILLIAM was born in Scarborough, 1890, and began his performing career as a pianist using the stage name of Lloyd Holland. In 1910 he travelled to Canada and formed the ‘Canadian Follies’. After the first World War he travelled the American Vaudeville circuit singing the songs of Harry Lauder and Will Fyffe. He later returned to New York and wrote two musicals – ‘Buddies’ and ‘Princess Virtue’ the latter closing after sixteen performances. He returned to London and in 1926 met Australian-born singer Malcolm McEachern who was well-known for his performances with Nellie Melba. By 1926 he had established a London concert reputation and was getting bookings on so-called ‘higher class’ variety shows. In February of 1926 he teamed up with Hilliam and they trialed a double act – the rest is history! The team became extremely popular and moved to radio where they had several popular radio shows including ‘Round The World With Flotsam And Jetsam’, ‘Our Hour’ and ‘Signs Of The Times’. They remained a popular act until Malcolm McEachern’s death in 1945. The act was also widely recorded and their discs sold well throughout England, Canada, Australia and New Zealand.
Flotsam & Jetsam found new fans in the early part of the 21st century when their ‘Run Rabbit Run’ was used as the music for a series of Victorian Tourism commercials.
CHARLES NORMAN, born in England, came to this country as a boy. He played in vaudeville, variety and musical comedy, including the Australian premieres of White Horse Inn and Anything Goes; the number he sings here is from the latter show. Charles worked in London in the 1930s as a suave song-and-dance man. Later in his career he appeared in Charley’s Aunt and many other classic farces. He entertained troops in Japan and Korea in 1952 and was featured in early television variety shows. In 1984 Charles Norman published a delightful book of reminiscences. When Vaudeville Was King.
GEORGE WALLACE was one of Australia’s most loved comics. As the innocent, wide-eyed “boy from the bush”, George conquered variety, radio and cinema, starring in a succession of highly-successful – and still very funny – 1930s film comedies. He created much of his own material, as well as the rousing hit A Brown Slouch Hat, which became this country’s most popular home-grown Second World War song. George passed on his talents – and much of his material – to his son, George Wallace Junior, who featured, it on the Brisbane-produced television variety series Theatre Royal.
AMY ROCHELLE is best remembered as Australia’s longest-serving principal boy, having sung and swaggered her way through eighteen consecutive annual pantomime productions! She was also popular in musical comedy and on radio. At Christmas, 1949, she emerged from retirement to delight a new generation as the Wicked Stepmother in the Garnet H. Carroll/National Theatre production of The Glass Slipper at the Princess Theatre in Melbourne.
WARD LEOPOLD recorded this, the first of a longrunning series of Here’s Hooey sketches, in 1940, when radio was king of home entertainment. It is a tribute to the potency of Leopold’s barbs that his efforts were promptly banned by stations across Australia! Leopold can now be seen as an antipodean – and earlier – Stan Freberg. When not mercilessly lampooning radio, Leopold made a living from it, writing, producing and providing voices for countless commercials; he was also a useful featured player if an unusual characterisation was required for a radio drama.
LOUISE HOMFREY was that rarest of songbirds, a “Lady Baritone”. She was born in New Zealand when her theatrical parents were on tour there and she was christened Hinemoa Monica Llewelyn. She started broadcasting from 2BL in 1926, appeared at the Tivoli, and graduated to the 2UW Women’s Session. She moved to Melbourne, working first for 3AW and then, in 1937, for 3DB where she stayed until her retirement in 1958. Her program was a perennially popular mixture.
WILLY FENNELL. Willie Fennell, famous for his trademark saying ‘Ow are yer mate’, established himself as both a comedy and character actor ‘noted particularly for his gentle poignant character roles’ (Telecast bio 1960s). Fennell’s career began in 1945 when he wrote, produced and played the title role in the radio comedy series ‘Life with Dexter’. He was well known for twenty years as ‘Phooey Fennell’ on commercial radio comedy shows like ‘Calling the stars’ and ‘The Cashmere Bouquet show’. He performed on stage in many variety shows, including charity benefits and product sponsored promotions. In the 1960s and 70s he also played roles on television (including the popular series ‘Homicide’ and ‘Skippy’). His theatrical work included the Ensemble Theatre Company’s ‘Semi-detached’ (1965), Jane Street Theatre’s ‘Trespassers will be prosecuted’ (1976) and Ensemble’s 1987 production of ‘The one day of the year’.
JAZZ & SWING
FRANK COUGHLAN Australia since the second world war was quite different economically and socially to what it was prior to the war. This is particularly so on the sphere of swing and jazz music. In the mid to late forties the emphasis was on the jazz “revival” led largely by Graeme Bell and his contemporaries and the “progressive” or “bop” followers of Don Banks, Wally Normal et al. The men (and women) who had pioneered jazz here in the twenties and swing in the thirties were overlooked and ignored. Most of these had been professional musicians in the best-paid jobs available before the war. As such, they were unable to play jazz full time for a living, even though many of them would have preferred to do so, and as they were quite capable of doing. This to the “purist” jazz fans of the post war era meant they were merely commercial, or; an even worse indictment, insincere dance band musicians who sometimes hopped on the bandwagon created by the “sincere” true jazzmen. Nothing could be further from the truth. One musician who suffered this undeservedly negative reviews (from the rabid fans, not the musicians) was Francis James Coughlan.
Frank Coughlan was born on September 10, 1904 in the small village of Emmaville in the northern tablelands of N.S.W His father Bill was bandmaster and later at neighbouring Glen Innes, so it was only natural that Frank and his four brothers became members of the local brass band. All became professional musicians, but undoubtedly Frank was the most successful. Whilst the slide trombone became his major instrument, he played every instrument in the band from soprano cornet to the double Bb bass – experience on Bb and Eb instruments which was to stand him in good stead later on. In 1922 Frank moved to Sydney, and soon fell under the spell of jazz, as found in the grooves of records by the Cotton Pickers and the Original Memphis Five (little else was available then) – and the slide trombone of Miff Mole on those records had a great influence on Frank, as indeed it did on many aspiring trombonists in the USA. Coughlan’s first major job in the dance band business was with Bill James at the Bondi Casino – a cabaret, not a gambling joint. In December, 1923 J.C. Bendrodt brought to Sydney from San Francisco Frank Ellis and his Californians to play at the Palais Royal dance hall out at the Showground. ‘The best band ever to visit Australia” was Coughlan’s opinion in 1937. The Californian’s trombonist Monte Barton might not feature in many jazz histories, but he had a great influence on the young Coughlan. When Barton returned to the USA, Coughlan left Bill James to join the Californians, now led by saxophonist Walter Beban and it was with this group that he made his first recordings. In July, 1926 the Columbia Graphophone Co. commenced recording in Sydney; acoustically at first, and the 14th master cut at Homebush was That Certain Party by the Palais Royal Californians, and both Frank Coughlan on trombone and his compatriot from Melbourne, Ern Pettifer, on baritone saxophone, are well featured. The local boys are far from overshadowed by the four Americans still in the band. The vocal has long been ascribed to Frank’s brother, Jack, but Joan Ford (Frank’s daughter) points out that at the time Jack was a fifteen year old schoolboy and his presence is doubtful. The vocalist might be the drummer Danny Hogan.
On trumpet was Eddie Frizzle who became a good friend and musical partner with Frank in the thirties. Coughlan then joined Carol Loughner’s Palm Grove Orchestra, also from California, at the Palais de Dance, St. Kilda for a six months season starting November 29, 1926. Then after about 18 months with other groups in cabaret and on Fuller’s circuit, he took Eddie Frizelle’s advice and went to London, where he arrived on December 20,1928. With letters of introduction from Frizelle (who had played at the London Savoy Hotel with Bert Ralton) he toured the night spots and picked up a couple of casual dates, making a favourable impression upon the London musicians, Melody Maker described him as “a real find – one of the ‘hottest’ men on this instrument heard m the West End for many a long day”. Rhythm magazine said he was “a very talented trombone player, who immediately fixed up a series of record sessions”.
There’s A Blue Ridge Round My Heart Virginia was recorded at one of these sessions, with Arthur Rosebery’s band with which he was playing at the Kit-Kat Club. Coughlan plays the introduction and gets a two bar break on this title but his free flowing accompaniment to the ensemble is what stands out most. This Kit-Kat band was owned by Jack Hylton, who heard Coughlan play on a radio broadcast. Hylton wired Coughlan to join him in Hamburg, and they also played Brussels, Paris, Liege. However the wiry Australian found touring the Continent in winter too cold, and too expensive. Hylton released him from his contract on their return to London, and Coughlan joined Fred Elizalde’s Orchestra at the Savoy Hotel.
Elizalde had quite a progressive group for its time, and included in his personnel were such illustrious American jazzmen as Chelsea Quealey; Bobby Davis, Fud Livingston and Adrian Rollini. Coughlan was hired to replace Rollini who had to return to the States for a couple of weeks. This was the first time a trombonist had been in this band. Elizalde said: “There has really been no room for one, Adrian Rollini has always played trombone parts and has been worth any six trombone players of which I know. I really took Coughlan on to fill in while Adrian was in America, but he is so good that I shall keep him on. It will mean re-orchestrating a great deal of nearly all our numbers, but it will be worth it.” Quite an accolade! Singapore Sorrows was the only title Coughlan recorded with Elizalde. A pity they didn’t make a few more hot sides, but the lean Australian has a sixteen bar solo towards the end of the number. At the end of Elizalde’s engagement at the Savoy, Coughlan went into Al Collins’ Orchestra at Claridges -it seems that this group also went into the Savoy Hotel, but the details are a bit sketchy. What we do know is that Ray Noble used the brass team of Max Goldberg and Bill Shakespeare on trumpets and Frank Coughlan trombone from Collins’ band for his famous recordings by the studio group known as the New Mayfair Orchestra. When The Real Thing Comes Along is an example of Noble’s dance band work that eventually took him to America, Coughlan can be heard in the arrangement. Adrian Rollini wanted Coughlan to go to America with him, assuring him that he would do well there, but the difficulties of the US quota system ruled this out and Coughlan left London on December 10,1929 for a job in New Zealand, but the deepening depression altered the promoter’s mind, and Coughlan landed back in Sydney in January;
1930. So whilst Frank Coughlan didn’t record any “hot jazz classics” while overseas these selections show how he was at home with the best of England’s, and some of America’s, top hot dance band musicians. The experience of playing beside these men, being accepted as a musical equal, and learning much from them and the advanced arrangements they played was to stand him in good stead back home. Not that this experience and knowledge was put to the test immediately -only three months after the Wall St. crash unemployment, particularly amongst musicians, was already rife and what jobs there were not discarded lightly. Fortunately for us, Beryl Newell, MD at the Parlophone Co., picked him for a couple of recording sessions with Des Tooley, the rhythm girl.
Frank’s first major engagement back in Svdnev was with Al Hammett at the Palais Royal; in March, 1931 he became leader at the Carlton Hotel in Brisbane. Mid 1932 saw him at Romano’s (Sydney) with Harry Whyte and in early 1933 he was with Ern Pettifer at Melbourne’s Palais de Dance. After that he played under Don Rankin, then Art Chapman and Benny Featherstone. Back in Sydney, after a short spell with Sam Babicci, he took his own band, highly praised but never recorded, into the Bondi Esplanade.
He had indeed “paid his dues” and was ready to accept the position for which he is best remembered. On April 3, 1936, J.C. Bendrodt and his partners opened the palatial Trocadero, Sydney’s first purpose built
ballroom, with Frank Coughlan leading the Orchestra. Contrary to the penny pinching practices of many entrepreneurs, Bendrodt allowed Coughlan to pick the best men available for the band, and rehearsed them daily, on full pay, for six weeks before the opening.
The orchestra was a great hit with the public and the rest of Sydney’s musicians, and broadcast live over 2BL and other radio stations.
However, whilst in the opinion of those lucky enough to hear it this was the best swing band we ever had in Sydney die business at the time it did not reflect this nor the expectations of the management and shareholders. The Depression was still biting.
At the end of 1937 a number of musicians were replaced, the swing policy changed, and sweeter music was demanded. The attendance promptly dropped another 900 per week. Still a mixture of swing and sweet became the norm. In May, 1937 Rex Shaw recorded the Coughlan Orchestra for his Prestophone label, but of the hot sides only At The Darktown Strutters Ball was released.
Swing had hit the world late in 1935 and by 1936, Australian groups from trios upwards were describing themselves as swing bands. Swing clubs sprang up in Sydney. Newcastle and Melbourne, at first playing records to the assembled enthusiasts, but later engaging musicians to play at monthly jam sessions. Members of the Trocadero band were prominent at these sessions, and I Want To Be Happy and Blues are typical of the Jazz heard at these gatherings – proof enough that many of the professional musicians of the day knew and appreciated jazz, even if they weren’t all straight out “dixielanders”.
Coughlan finished at the Sydney Trocadero on August 31, 1939, and spent the next four years leading bands at the Bondi Esplanade, New Romano’s, Prince’s in Brisbane and Melbourne Trocadero. In June, 1943 he joined the Army, led the Ninth Division concert band, later took a dixieland unit to the New Guinea and Solomons battle areas.
Prior to that he made an appearance on Army On Parade, a radio series featuring at that stage Wally Portingale’s Orchestra. Along with his brothers Jack on vocal and Tommy on trumpet from the Portingale band, he was featured as Coughlan’s Ragtime Band (showing that the Muggsy Spanier Ragtime Band discs had reached down under by then) on Basin Street Blues. After the war Coughlan played a short season at Rose’s before resuming the leadership at the Sydney Trocadero, and with the “jazz revival” under way, was able to feature nightly a bracket or two by his eight piece dixieland group.
BARBARA JAMES, born 1908, was Australia’s most popular vocalist for three decades. Although she was not specifically a jazz singer she could certainly sing jazz. She sang everything that was popular in the dance and popular music field, and when swing became the rage in the middle thirties, she showed that she could swing with the best of them.
Barbara James was born into a family that was not only musical, but also a part of Sydney’s live theatre circuit. In the early years of the 19th century her parents had a double banjo act on the vaudeville theatre circuit. In the 30s her father became a bandleader at the Bondi casino dance hall – giving the young Frank Coughlan his first professional job.
Barbara spent four years singing at the Blue Mountain’s holiday guesthouses and here she met pianist and bandleader Reg Lewis who she married. In 1927 she won ‘Maid of the Mountains’ – the local equivalent of the Miss Australia Quest.
In 1930 she travelled to Brisbane where she became known as the ‘Personality Girl Saxophonist’ with Tommy Kane’s orchestra. She travelled Australia, became a regular on ABC Radio and made several recordings, with most of Australia’s leading jazz orchestras and bands.
She was a regular at the Trocadero where she performed regularly with Frank Coughlan’s orchestra.
Barbara James lived most of her life at Potts Point and died in 2004.
MINSTRELSY IN AUSTRALIA : A Brief Overview
Acknowledgment to my long-standing associate and music researcher, GARY LE GALLANT for this information-packed article. If you are interested in blues, ragtime, minstrel and other American music found in Australia visit www.nugrape.net
The beginning of the legitimate theatre is generally regarded as when Mr.Barnett Levey attained permission for the establishment of plays in the saloon of the Hotel Royal,Sydney. The license being given on the 22/12/1832 for a trial period covering from 26th December,1832 until the end of May. Previous to this occurrence there were periodic musical entertainments at the above hotel by local amateur artists with not always the best of reviews. (note: Plays were performed well before this date, ie Sidaway’s Theatre, Sydney in 1796, etc).
Along with the increase in activity generated with the opening of Levey’s theatre, there were also advertisements issued by a Mr.Edwards around July,1828, mentioning the transfer of his various musical instruments and music to the shop of Messrs.Ferris & Chapman. Instruments included violins, guitars, portable organs, aeolian harps, clarinets, flutes,etc.
Contrary to the generally held belief that minstrelsy dates back to when Charles Backus toured Australia in 1855, minstrelsy had its initial appearance in Sydney back on the 28th August,1838 when a Mr.Ferguson sang “the celebrated popular comic song”-‘Jim Crow’ at the Royal Victoria theatre. Subsequently, numerous renditions of various minstrel songs were performed by local artists including the actor/manager Mr.Joseph Simmons,(“Jump Jim Crow”-17/8/1839), as well as numerous other local performers such as John Hyde who approximately thirty years later was loosely affiliated with Corbyn’s Georgia Minstrels, when “The Octoroon” was performed at the Bijou Theatre,Melbourne on the 9th June,1877. All this no doubt was directly attributed to T.D.Rice’s(Daddy Rice) success in England from his tour of 1836,with the play of “Jim Crow” first being performed in Sydney at the Royal Victoria theatre on the 11th April,1839 for Joseph Simmons benefit night, featuring local performers. The popularity of this piece was such that Jim Crow hats were advertised for sale in the following period.
The first minstrel group to appear in Sydney was in 1850 with the arrival of Henry Burton who etched his name into history by being one of the founders of the circus in Australia. Besides his great contribution to the circus, Henry Burton on his arrival in 1849, teamed up with a group of artists including Mr.Charles V.Howard, Mr.George.B.Howard and Mr.James W.Reading. These artists, including Henry Burton as Blythe Waterland, opened their Sydney season at the Royal Hotel on the 1st of April,1850 as Blythe Waterland’s Serenaders, featuring banjo duets, flutina (1) solos, etc. Songs and tunes included items such as :-
- “Lynchburg Town”
- Walk along John”
- Johnny Boker”
- Dandy Jim”
- Old Grey Goose”
- Ole Dan Tucker”
- Boatman’s Dance”
Jenny get your hoe cake done”
With the subsequent break-up of the Waterland troupe, members appeared in various groups sometimes in competition to Henry Burton, giving musical lessons and later, as was the case with Charles V.Howard, managing various theatrical groups that included minstrel acts, freak shows,etc. These groups were the first to tour extensively throughout the goldfields and districts.
The following years gave rise to local amateur Ethiopian serenader concerts as well as tours by other professional groups such as the New York Serenaders, Backus Minstrels, New Orleans Serenaders, Rainer’s Serenaders as well as female Ethiopian serenaders. There was also the creation of the N.S.W.Christy Minstrels who were a feature of the Sydney scene for many years at the various picnics & functions at holiday periods such as at Manly Beach, Cremorne,etc. They also performed with the touring troupe of professional Christy’s Minstrels in the 1860’s.
Minstrel troupes were to continue to tour throughout the 1860’s and 1870’s. e.g. Billy Emerson’s Minstrels, Hiscock’s Federal Minstrels,etc. The popularity of minstrelsy was such that printed songfolios were marketed for the popular troupes from this period and could be purchased from the music saloon of Mr.Grocott’s or Mason’s bookstall,etc.
Minstrelsy was not confined to the established theatres but was also part of the entertainment at taverns such as the Crown & Kettle, Bull & Mouth and Evan’s saloon,etc. Generally these venues had free admission.
The first black minstrel troupe to appear in Australia, “featuring real negroes from the slave states” were Sheridan Corbyn’s troupe of Georgia Minstrels who appeared at the School of Arts in Sydney on Boxing night,1876. They were soon followed by C.B.Hick’s Georgia Minstrels (organised in 1865), who also toured Australia over the same period, opening in Melbourne at St.George’s Hall on Monday the 13th August,1877. A number of these artists were to stay in Australia and be a permanent feature of Australia’s theatrical scene for many years. e.g.Hosea Easton, Sam Keenan,etc.
Following the first tour of the Georgia Minstrels, a number of other black troupes were to follow with an off-shoot of the world-famous Fisk Jubilee Singers arriving in Australia in 1886 and touring extensively throughout Australiasia with great success. From this first troupe of Fisk Jubilee Singers, Mr.O.M.McAdoo was to see the potential of future ventures and toured Australasia and Africa with his own jubilee and minstrel company over the proceeding years until his untimely death in Sydney on the 17th July,1900. His theatrical companies contained some of the best black minstrel acts as well as singers/musicians to ever appear in Australia, with such stars as:
William James
- Ferry(Ferry the frog)
- Billy McClain (Billy McClain originally came to Australia with M.B.Curtis’s Afro- Americans)
- Miss Flora Batson
- C.W.Walker
- Prof.Henderson Smith, etc.
F.J. Loudin’s Fisk Jubilee Singers original tour spawned many derivative organisations besides the McAdoo troupe of jubilee singers, with Huntley Spencer (former member of the Era Comedy Four with Hugo’s American Minstrels) being associated with a troupe of Fisk jubilee singers as late as 1936 in New Zealand. Numerous Australian and New Zealand performers were to be in one of the many “Fisk Jubilee Singers” groups to have flourished following the visit of Loudin’s Fisk Jubilee singers in 1886.
Another important early black minstrel troupe to tour was Charlie Hick’s Minstrels of 1888. It featured artists which were to stay for many years on the Australasian stage, notably
- Irving Sayles
- Charley Pope
- Wallace King
- Billy Speed
- The Connor brothers.
Their first performance was on the 1st of September,1888 at the Opera House in Sydney.
The last overseas touring minstrel show to appear in Australia was the Hugo Brothers American Minstrels which featured the great Billy Kersands, performing around Sydney in July,1913 (Kersands was not part of the troupe by this time), where the Australian bandleader, Jim Davidson, remembered viewing them as indicated from his autobiography.
Though numerous individual overseas minstrel/black-face acts toured throughout the following years on the Tivoli/Fuller circuits, no full minstrel company ever toured again, though black companies such as Joe Sheftell’s Southern Plantation Revue (which featured elements of minstrelsy) and Sonny Clay’s ill-fated colored idea, were to tour in 1926 & 1928 respectively.
The Tivoli management did advertise that Sonny Clay’s company would put forward an “old plantation nigger show” on their second visit to Sydney. However from their repertoire it seems ludicrous by today’s standards. Sonny Clay’s company featured his up-to-date hot jazz band (plantation orchestra!) and modern artists such as the spectacular dancing of the Four Covans and singing of Ivy Anderson(she was to be one of Duke Ellington’s favourite lead vocalists), and the Colored Emperors of Harmony, who were touring Australia previous to joining the Clay troupe at their opening in January,1928. The minstrel show never eventuated due to their deportation under controversial circumstances.
The tradition of minstrelsy was carried on by local companies/artists as well as touring jubilee singers/artists (eg Randolph Forbes Kentucky Jubilee Singers in 1929), who catered to local audiences with renditions of “Old Black Joe”,etc. Thus continuing on the stage, on radio and film for many years, what had started way back in the 1830’s and it does not require too much enquiry to find influences from this form of entertainment.
Minstrelsy and the associated branching, from its very early beginnings, has been a feature of the Australian scene for well over a century and because of this, deserves to be looked at in a more detailed way (as well as the other aspects of theatre/music) than has been in the past.
© 14 May 1986
THANKS:
Thanks go to Doug Seroff for his information on Huntley Spencer & to the staff of the State & Mitchell library of N.S.W.
FURTHER READING:
- Under The Imperial Carpet, Essays in Black History 1780-1950 – Edited by Rainer Lotz and Ian Pegg , Rabbit Press 1986.
- 100 Years of the Negro in Show Business by Tom Fletcher, Da Capo Press 1984.
- From Minstrel Show to Vaudeville – The Australian Popular Stage 1788-1914 by Richard Waterhouse , N.S.W. University Press 1990.
- The Ghost Walks: A Chronological History of Blacks in Show Business, 1865-1910 by Henry T. Sampson, Scarecrow Press 1988.
- Blacks In Blackface by Henry T. Sampson, Scarecrow Press 1980
NOTE:
The Waterland troupe was not the first minstrel group to perform in Australia. In July1849, a group performed at the Queen’s Theatre, Melbourne. Known simply as the Four Ethiopian Serenaders, these performers performed “Dance the Boatmen”,” Dance the Buffalo Gals”,” My skiff is by de Shore”. However, this group performed as a support to other entertainment, compared to the Waterland group’s total minstrel performance.
As mentioned in the article Minstrelsy in Australia Blythe Waterland’s troupe was the initial minstrel group to appear in Australia in a total minstrel performance. Included in their performance was the first appearance of the “American banjo” on the stage in Sydney.
Following the Sydney performances of the Waterland troupe, the group travelled up to the Maitland and Newcastle region by steamer. The Serenaders performances were enthusiastically received with the Maitland press greeting Waterland’s concert on the 29th of May, 1850, at the Rose Inn, West Maitland with the following lines:
| “The performance of the company on Wednesday evening was fully equal to the high character of their Tuesday’s entertainment. It is wonderful that with such apparently imperfect instruments as the banjo, the flutina, the tambourine, and the bones, these artists can produce really excellent music, their time and harmony being perfect…”“The second part was introduced by “Christ Church Bells”, beautifully given on the banjo by Mr.Reading, and which obtained a well-deserved encore…” |
The Serenaders were sent a deputation on their return from Singleton on the 1st June and requested to give a benefit for the Maitland Hospital, the crowd being such that the resultant attendance grossed £34/4/6d, with ticket sales totalling £23/11/-, and people being turned away at the door.
There was not all clear sailing though, with the ill health of Mr.Reading seemingly causing problems as he could not perform in some of his Sydney concerts as well as a number of the Maitland/Newcastle concerts. Following the troupe,s last performance in the Hunter Valley region they left for Sydney on the 11th June,1850 with resultant Sydney advertisements shown below:
| “Messrs. Charles V. Howard & George B. Howard, the celebrated and unequalled tambourine & flutina players, beg respectfully to inform the inhabitants of Sydney and the public generally that they are no longer in association with the person known as Blythe Waterland, and that they have now formed a company of Ethiopians unequalled in talent in New South Wales….”13th June,1850.“Messrs. Blythe Waterland and J. W. Reading, beg to notify the public, in reference to an advertisement which appeared in yesterday’s Herald, from the Messrs. Howards, that they have selected a splendid new band of Serenaders, which is now in active practice, and who will in a few days solicit the patronage of the public .Messrs. Waterland & Reading’s motive for this announcement is to guard their former supporters from being imposed upon by pretenders, whose early claim is the circumstance of their having once being engaged as part of their company. Sydney, June 13…”14th June,1850. |
This conflict did not go unnoticed and one journal had the following to say:
| “If the two bands were to coalesce, their success would be indubitable, but clashing together, as they necessarily must (if they adopt not this suggestion) we fear they will cut each other’s throats, in a professional sense….” |
The Waterland troupe subsequently toured Goulburn, Berrima, and Picton, while the Howard Serenaders ventured to Bathurst, as well as publishing a songster “containing all the most popular nigger songs” available from the publisher Mr. Mason at 147 Castlereagh St., or Mr. Grocott’s music saloon in George St., for the price of 6d. The Waterland & Reading troupe also published their own songster which was available at the door of their concerts for the price of 1/-.
The two troupes then boarded the steamer, Shamrock, for Melbourne on the 5th July,1850, where they continued to carry out their aggressive advertisements to draw the crowds. This practice developed into a tradition as judged by subsequent years.
The Howard’s Serenaders opened in Melbourne at the Queen’s Theatre Royal on Friday, the 12th July,1850, with the Waterland and Reading’s Serenaders opening the following night at the Royal Hotel. The Howard Serenaders continued to perform in Melbourne and Geelong before returning to Sydney. The Waterland troupe also performed at various venues (Collingwood etc), as well as publicising their own songster for sale prior to travelling onto Tasmania.
Reviews for the two groups continued to be of interest with one mentioning the “clever imitation of the start of a railway train” (a feature of latter Bluegrass music!). Also the Waterland and Reading Serenaders’ advertisements mentioned that “they are the original performers of the American banjo in N. S. W.”.
Along with these two groups there were a number of other individual artists who staged minstrel acts in Sydney, Melbourne, Tasmania and the districts. These individual acts generally accompanied themselves with bones/tambourine or sang unaccompanied. Some of these artists included:
* John Hyde
* Mr.Jackson
* Mr.Golding
* Master Chambers
* Billy Barlow etc.
One of these individual minstrels went on to be significant in being the first to try and teach the local inhabitants the rudiments of playing the banjo.
Troy Knight appeared in Melbourne at the Queen’s Theatre, August, 1850 on the same bill with Master Chambers. It can be surmised that Master Chambers was one of the original performers that was part of the “The Four Ethiopian Serenaders” who first appeared in Melbourne around July,1849. (as per article on Minstrelsy in Australia).
Troy Knight was billed on the 15th August,1850 at the Queen’s Theatre as the celebrated Banjoist, and Master Chambers as the celebrated Picanniny Congo Minstrel. Troy Knight performed such pieces as “Happy Moments” and “a variety of favourite songs”.
Following performances by Troy Knight in Melbourne he ventured to Tasmania on the heels of the Waterland and Reading’s Serenaders, opening at the Royal Olympic Theatre, Launceston on Monday the 12th of September, and at the Longford, Blenheim Hotel on the 24th of September 1850, were he was billed as “the original bone & banjo player of the whole of the colonies”.(sic)
As well as appearing on the stage Troy Knight also placed advertisements for lessons on the American banjo. The advertisements placed in late September,1850 were the first indication of any local inhabitants being taught the American banjo. Unfortunately when a concert was put forward to allow his pupils public approbation he was not supported by these “gentlemen amateurs” as they were apparently smitten with stage fright.
The banjo subsequently gained a measure of acceptance in Australia and became an integral part of minstrel performances, as well as becoming an accompaniment to other entertainment. Latter years were to see the formation of banjo clubs, publications, etc, much in the same way as the Bluegrass Society.
American music has had a surprisingly long influence on Australian traditional music. Surprising because whilst Celtic and British music is obvious the American counterpart has not been easy to identify, especially in its earliest appearances. There is no denying that as an outpost of the British Empire, and taking into account the large number of Irish and Scottish convicts sentenced to transportation, it stands to reason that the broadside and other popular songs, including those classified as traditional folk song repertoire, travelled here and went into local circulation almost immediately. The reason for this quick assimilation is simply the nature of traditional song and the ready acceptance of all things British and Celtic, especially those songs that reminded the singer and audience of ‘home’.
We have many printed examples of the broadside in transition and several documented references, mainly early newspapers and diaries, pertaining to the presence of certain folk songs but, of course, this is a selective collection and can only be viewed as an example of what was sung in the Colony. Song played a different entertainment role in the first half of the 19th century and was rarely viewed with a commercial eye. The broadside printer publishers, especially those of London’s Seven Dials district, were the exception rather than the rule. Songbooks were published but were relatively expensive and so limited in their reach, especially to the people who were the main song carriers: the poor.
This was the heyday of the Empire and all things British were considered superior. America was seen as impudent, ungrateful and an irritation. Many of the English songs of the time were overly patriotic, and one imagines, extremely difficult to sing because of their verbosity. These, of course, were the songs printed in magazines, newspapers and high-end songbooks. The ‘folk’ were singing other songs, be they familiar old songs or new parodies. Songs about poaching, old battles, salty sailors and British occupation were popular, as were bawdy verses that appealed to their Rabelaisian appetite.
The first influences of American music on our music pre-dates the Goldrush of the mid 1850s but it was definitely gold that announced the first major influence. This is related to the fact that America had seen its own goldrush, mostly in California, a decade earlier. The goldrush in both countries had a profound effect on the development of these ‘new worlds’ and especially in opening up the remote areas through transport and communication. This too had an effect on social life and, in particular, the demand for entertainment. The fact that goldrushes, by their very physical nature, attract mostly men and this too demanded a different sort of entertainment. Once again the role of songs is fascinating and especially how these lonely men related to sentimental songs and ballads. The songs of the ‘Forty-niners’ were not that far removed from the songs sung on the Australian goldfields and many songs travelled over both. America had about one hundred years on Australia so its cities and services were far more advanced and, in some ways, its song culture, especially its Anglo Celtic roots, had already been absorbed.
Gold seekers who had tried their luck on the Californian fields also came to Australia. There were regular flows of shipping from the West Coast of America and some from New York and Boston. We also know the Chinese and Europeans sailed here but the majority were British and Irish, the latter escaping the rural hardships imposed on them by the British and nature.
The gold rush towns started as tent cities, usually near the rivers. They were primitive affairs with few comforts and that included the supply of food. One imagines that the muddy water, continually panned, was nigh on undrinkable, however this did not deter the miners. Slowly sly grog shops, also housed in tents, were opened to supply dubious ales and spirits. These were illegal establishments but so numerous that the troopers found them difficult to police. Some also sold coffee, tea and prepared foods like pies. Pies were particularly popular because the flour and lard casings tended to preserve the meat longer. It had little to do with the taste and many the casing would have been thrown away. Considering the number of blowies in the bush this was probably a wise decision. As the tent cities grew small main streets were established. Photographs of Gulgong, Bendigo and other gold towns show a double-sided street with wooden and tent structures, some in a terrace style. Shops, houses, saddleries, tent shops, hardware and hotels were built. Some of these towns remain today but, sadly, most have been removed in the name of progress.
Most gold towns had several hotels for, one suspects, this is where the real money was to be made. A popular theory rationalised that you could establish the population of a town by the number of hotels. Some, like Ballarat, with over 500 drinking premises (circa early 1860s), were way out of whack. The competition meant publicans had to offer the best available food, lodgings and a regular flow of entertainers, especially saucy women! Many of the larger hotels also had concert rooms.
The entertainment varied but we do know that novelty acts, circus, dancing girls, singers and German bands were all popular, We also know that major international artists like Lola Montez (and her Spider Dance) and Jenny Lind (‘The Swedish Nightingale’) toured extensively and caused near riots. American minstrel was also extremely popular. It was also popular in England and America. It was the sentimental ballad that ruled supreme in the mid 19th century. With so many pioneers and new settlers parted from home and country this was to be expected. One of the most popular was the ‘Girl I Left Behind Me’ and the tune entered the local tradition and was used for the carrier of some new compositions.
Dance music was also popular. The ‘German bands’ were almost a phenomenon as they oompa oompared their way around the bush. One wonders if they wore heavy lederhosen? There is a story, maybe a yarn, about the bushranger Fred ward ‘Thunderbolt’ bailing up a coach team carrying a German Band out to the New England district. The story explains how the bushranger was so intrigued he ordered the band to play a tune on the side of the road. He apologised for taking their money by adding he needed it so he could bet at the races. He promised that if he won he would leave their money at the post office in town. Legend has it he won and their money was waiting! Personally, I suspect it’s a yarn, but a good one.
What were popular were the quadrilles and polkas and the popular dance music associated with them. These did reach the goldfields but, one imagines, the actual dances rarely did.
Sheet music, like the Topsy Quadrille, mostly came in from England although some sheets came in from America. Some sheets were also printed here if they had Australian references. There were several sheets published in the 1850s surrounding the subjects of rail and gold.
The following sample list of Australian songs using American tunes tracks the composer, provenance and approximated date written
BEN BOLT.
Written by Englishman Thomas Dunn, in 1842, with music by Nelson Neass, of Philadelphia, and first sung in America 1848
Sam Holt or Old Black Alice or Ballad of Queensland This song was extremely popular throughout the Australian bush. It was published in the Australian Melodist circa 1880s and collected several in variants. The song is typical of the era, a story song. The most curious line in one of the Australian versions includes the lines:
And don’t you remember Black Alice, Ben Bolt…..
The old mallee gin with the bone through her nose
And teeth like a Moreton Bay shark.
MY HOME IN TENNESSEE.
This was a popular American song was recorded by several country singers.
- Les Darcy or Death of Les Darcy
- Tattooed Lady (WW1 ditty)
- Down In The Old Front Line. (WW1 ditty)
- The Win The war Party. Via Edgar Ross. Quoted: Balls of Bob Menzies.
YELLOW ROSE OF TEXAS/CAMOOWEAL RACES.
‘J K’ 1853 Civil War song.
- Nine Miles From Gundagai or Bill the Bullocky (Variant)
- This Side of Pinnaroo
GUM TREE CANOE.
There appears to be a Scottish broadside version and an American version attributed to S.S. Steele / A.F. Winnemore).
- Dear native Girl or Oh, Give Me a Hut or Native mate or Then Give Me A Hut or My Own native Land
- The Free Selector
Like a feather we’re a-floating,
On my gum tree canoe.
I collected a version of the Gumtree Canoe from Jim Cargill, Randwick, 1973. Jim had known the song for over 50 years and was originally from Scotland however his version is more like the American text.
CASEY JONES.
Wallace Saunders 1892
- Billy Sheahan
- Scab’s hymn. Quoted Balls of Bob Menzies. Aka Blue Whiskers
JOHN BROWN’S BODY AKA BATTLE HYMN OF THE REPUBLIC
- Brocklebank Engineers. Typical of the many Australian drinking ditties to use this tune.
- Douglas Social Credit. 1930s Depression ditty
TRAMP TRAMP TRAMP.
George F Root. 1962
- Wallaby Brigade
- Unity Boys. Attributed to G T Rilley in Shearer’s Record circa 1890s.
- Song of the Tram Driver. Sydney Punch circa 1855
REDWINGS. AKA THERE ONCE WAS AN INDIAN MAID
- Workingmen Unite. 1ST Australian IWW songbook
- Redwings (bawdy parody)
CHAMPAGNE CHARLIE.
Lee &Walker. Philadelphia. 1868
- Salt Junk. Queenslander 1894
DARLING NELLY GRAY.
Benjamin Hanby. Ohio. 1856.
- Good Old Maranoa. Queenslander 1894
- Eumerella Shore“
DIXIE’S LAND (LOOK AWAY).
Daniel Emmett. Ohio/ circa 1861 in the musical ‘Pocahontus’, in New Orleans
- The Brolga’s Laugh. The Queenslander 1894
THE GAY CABALLERO
(as sung By Frank Crummit USA)
- The Gun Cane Cutter
THERE’S A GOOD TIME COMING.
1846. Stephen Foster. M and Charles Mackay
- The Good Time Coming (Coxon ?)
LINES OF LOVE.
Traditional
- Baldheaded End of the Broom. Coll. Fahey Herb Green. See Eureka.
HALLELUJAH BAND.
E. Mack. Philadelphia. 1870
AFTER THE BALL IS OVER.
Charles Harris. NY. This song was widely sung in Australia and became the carrier tune for many parodies, including bawdy songs.
- After The Ball (parody). Version published Imperial Songster No 2
HAPPY ARE WE DARKIES SO GAY.
This is a parody on air from the opera La Bayidere by E. P. Christy. New York: Jacques and Brother, 1847. It would have been popularised by the Christy’s Minstrels touring Australia. Pub. Qld New Colonial Campfire Song Book.
- Queensland Explorers Song (Remos)
DARK TOWN STRUTTER’S BALL.
Shelton Brooks. 1917
- King Cross Harlot’s Ball
JOE BOWERS.
Missouri. ND. Traditional
LITTLE OLD LOG CABIN IN THE LANE.
Will Hays. 1871
- The Dying Shearer
- Freehold on the Plain Queenslander 1894
THE DIGGER’S FAREWELL.
Traditional
- Another Fall of Rain aka Waiting For The Rain.
HOME ON THE RANGE.
Traditional
- The Girls That Are Easy To Woo
JOHN BROWN’S BODY.
Traditional.
- Going Back To Queensland
- Solidarity Forever. Quoted in Sydney Democratic League Songbook.
MARCHING THRU GEORGIA.
Henry Clay Work. 1865
- Golden Gullies of the Palmer
- Launceston And Deloraine Railway
- The Union Marching Song. Attributed P. C. Humala in Shearers & General labourers Record. Circa 1890s.
- The Union of the People. C. Drake. Mss Mitchell Library.
- One Big Industrial Union. Songs of ILP 1915 Adelaide.
BOYS OF THE USA.
Traditional march tune
- Australia’s welcome To Uncle Sam. Imperial Songster 1908. Joe Slater. Commemorated visit of Great White Fleet to Sydney
JUST BEFORE THE BATTLE, MOTHER.
George F Root. Circa 1860
- Fitzsimmons versus Corbett. Boxing song 19th c
OLD DOG TRAY OR POOR DOG TRAY.
Stephen Foster
- Don’t Let Your Dogs Stray (Thatcher)
CAMPDOWN RACES.
Traditional
- Downfall of Poor Old Roger
- The Shipping Agents. Thatcher
RING DE BANJO
Stephen Foster
- Steam’s Up. Sydney Songster 1869. George ‘Chanson’ Layou
SHE WORE A WREATH OF ROSES NY/1857. J P Knight.
- The Shepherd (the Queenslander 1894 or The Broken Down Drover
TURKEY IN THE STRAW.
ND. Trad
- Old Bullock Dray (variant of tune)
and many other popular hits
THE SHIP THAT NEVER RETURNED.
Harry Clay Work. 1860
- Only One More Drink
DEAREST MAE.
Lynch & Crosby 1848.
- The Overlander (Remos version)
SAM BASS.
Traditional American outlaw ballad
- Stir the Wallaby Stew
ON TOP OF OLD SMOKEY.
Traditional
- On Top of No Smoking. Depression song 1920s
- On Top of Old Sophie. Bawdy song
YANKEE DOODLE
ND, Trad.
- O’Reilly’s Daughter or One-Eyed Rhylah
- Bump Me Into Parliament. Casey
- Militant Medley. Circa 1945
OFF TO PHILADELPHIA.
Battison Hayes
- Off To Philadelphia. Parody written in Sydney by T. E. Leonard circa 1895
GENTLE ANNIE.
Stephen Foster 1856.
- Gentle Annie (parody)
YELLER GIRL.
American traditional instrumental tune.
- Sally Bain (De Nigger’s Girl). Armchair Magazine Melbourne 1853
WE’RE ALL A-NODDIN’.
American traditional from a Robert Burns poem.
- We’re All A-Travellin’. Armchair Magazine 1853
OLD FOLKS AT HOME.
Stephen Foster 1851
- Old Folks At Home. Dutch Parody. Silver Songster 1908
OH SUSANNAH.
Stephen Foster 1847
- World Turned Upsidedown. Mss William Walker. Mitchell. 1864. Folklore of Sydney ‘Gold’ section.
GAL WITH THE BLUE DRESS ON.
- Parramatta. Song about first NSW railway. Sydney Songster 1869
Early Sydney Theatre & Performers.
Sydney offers a fascinating history of early theatres and performers. In this section you will read of Sydney’s very first theatre and some of the establishments that followed. You will also read of some of the leading producers and theatre owners. Key performers are also spotlighted, mostly through obituaries, proving an overview of their lives.
Sydney’s First Theatre (Dr. Lisa Murray, Dictionary of Sydney)
Sydney was still a fledgling penal colony when the first theatre was constructed in 1796. Yes, that’s right – 1796. This fact reminds us of the importance of popular culture, even in the earliest days of a penal colony. Our first theatrical productions were given by permission of His Excellency the Governor John Hunter. He appreciated the importance of social customs and entertainment. Sydney’s first theatre opened on 16 January 1796. Lieutenant-Governor David Collins, who wrote a journal of his time in early Sydney, recorded his impressions of it. It had been built by ‘some of the more decent class of prisoner’ and the convicts had ‘fitted up the house with more theatrical propriety than could have been expected, and their performance was far above contempt’. Collins expresses mild surprise at the accomplishment of the building and the actors. Such back-handed compliments were common fare as the penal community banded together to provide themselves with the familiar social customs and culture that they enjoyed. That said, our first theatre was a simple structure. A basic rectangular hall, constructed of timber, with a pit formed by a stepped floor, and a front box and gallery. We don’t know exactly where this first theatre was. It was down around Circular Quay or the Rocks, possibly in Bent Street or George Street.
Playbill from the Theatre, 30 July 1796 . National Library of Australia
The theatre was known simply as “The Theatre” or “Sidaway’s Theatre”. Robert Sidaway, who opened operated the theatre, was a convict and baker. It seems that he got a bit of a taste for the arts and became something of a philanthropist for Sydney’s culture. When he died in 1809 the Sydney Gazette recorded “He was one of the first inhabitants of this Colony; during his very long residence in which he ever supported the reputation of a true philanthropist, and in all other respects a valuable member of society, in which he was universally respected.” What is extraordinary is that an advertising handbill survives from the theatre. It is held in the National Library of Australia and is one of the earliest forms of advertising in the colony. The play to be performed on July 30, 1796 was Jane Shore, by Nicholas Rowe, a tragedy first performed in 1714 in Drury Lane. Doors opened at 5.30pm with the play to commence at 6pm. The playbill was printed by the first Government Printer, George Henry Hughes, on a small wooden screw press and type which came out with the First Fleet. Hughes, the Government Printer, was also, as it turns out, an actor! His name along with others is listed on the handbill. Sadly, the theatre only lasted a few years; temporarily shut down by Governor Hunter and then permanently by Governor King in 1800. The Governors became suspicious of the theatre, and objected to nefarious behaviour that it seemed to encourage, such as convicts robbing houses while their occupants attended the theatre.
* * *
George Darrell (1853-1921) (Referee (Sydney), 2 February 1921)
The exit, last Thursday, of George Darrell, at the age of seventy-five, brought to a close an adventurous life and removed another old stage identity from our midst. He played many parts and played them manfully. He arrived in Australia in 1865, while still in his teens, and went to New Zealand as a gold seeker.
George Darrell, actor and author
Later he learned drawing and engraving and first appeared on the stage in amateur theatricals. He became a professional on the advice of Mme. Fanny Simonsen and played with her company: Soon after, he married Robert Hare’s widow and, proving a success, became lessee and director of the old Victoria Theatre in 1872. During an active career, which included trips to America, London, and South Africa, he wrote 23 original plays and dramatised ten books, many of which he staged. His last play, The Land of Gold, was produced at the Criterion in 1907, and the veteran made his final appearance at the Grand Opera House in May 1916, in aid of the Anzac Day Fund. On this occasion, he recited ‘Around the Dardanelles’, his composition, and ‘The Charge of the Light Brigade’ with surprising vigour.
Victoria Theatre, Sydney.
For some time, he had been living with his good friends Mr and Mrs Nat Barnett, at Roslyn Gardens, Elizabeth Bay. They saw him last on Thursday evening, when he left the house, leaving a note to say he had gone on a voyage. It was his last, for his body was found on Dee Why Beach on Friday morning.
* * *
Joseph Simmons (1810-1893) – Impresario and actor
The name Joseph Simmons may have stepped back from the footlights, but his role in the history of Sydney theatre is unquestionable.
Arriving in Australia as a young settler in 1830, he proceeded to make a name for himself as a character actor and, later, as theatre manager and owner. In February 1884, he became part proprietor and manager of a new venture, the Theatre Royal, and it was here he made his debut Australian performance as an actor.
\
Pioneer entrepreneur and actor Joseph Simmons
The critics praised his talent as ‘first rate’, especially his Irish characters. He went on to play a variety of roles, including Shakespearian and was most probably Sydney’s first Macbeth. Later, his partnership in the Theatre Royal was dissolved, and he relocated to Hobart, then returned to Sydney and was engaged by the recently opened Victoria theatre. T
Simmons, an independent spirit, wanted to operate his own theatre and, in 1843, with support from the City Council of Sydney, he opened the City theatre at the corner of Market Street. The small, new theatre found it challenging to compete with the Victoria and closed after a few weeks. Simmons returned to casual acting, including presenting two performances of his own play, ‘The Duellist’, which he claimed was “the first truly original drama ever produced in the Colony”. Soon after, he became the owner of the Tavistock Hotel at the corner of King and York Streets, and there he gave regular free concerts three nights every week. He also took occasional roles at the Victoria. Joseph Simmons was the second Jewish Alderman of Sydney Council when he was elected Councillor from 2 November 1850. Joseph Simmons died in 1893
Theatre Royal King Street, 1882
* * *
Backstage – George Marlow (1836-1939)
The early part of the twentieth century witnessed an explosion of theatre in Sydney, reflecting the city’s growth and that much of its population was working in manufacturing and commerce and had regular income and leisure time.
George Marlow – pioneer Australian actor
Here, George Marlow emerged as a theatrical entrepreneur and theatre manager and owner. Although he had been a child actor and played the piano for stage plays, he was more interested in the behind-the-scenes management of theatre. In his early days, he was connected to the Fuller Family and then, in 1907, took his own theatre in Newcastle. In 1910 he was lessee and then, a year later, owner of the Princess Theatre, Melbourne. In 1911 he built the Adelphi Theatre, on Castlereagh Street, Haymarket, the largest theatre in Australia. After a string of hit melodramas, he sold the Adelphi in 1915 and a year later, it was renamed the Grand Opera House. Some years later, it became the Tivoli, Australia’s most famous home of vaudeville, pantomime and musical theatre.
He produced a Christmas pantomime Beauty and the Beast around 1930 at the Grand Opera House with songs by the great cricketer Don Bradman and songwriter Jack Lumsdaine.
George Marlow died in 1939 and is buried in the Jewish section of Rookwood.
* * *
* * *
Bert Howard (1879-1937) – Lord Mayor of Poverty Point.
Born in The Rocks area of Sydney in 1879, Bert “the Droll” Howard became one of Sydney’s leading circuit vaudeville actors, managers and entrepreneurs. He was also involved in the boxing world, first as a lightweight boxer and later as a manager.
As a young man, Howard was taken under the wing of the entrepreneur Harry Rickards. He initially sold songbooks at the Tivoli Theatre and was later employed as Rickards’ office assistant and valet. He continued to manage boxers, work in theatre and present moving pictures with Howard Pugliese.
The Lord Mayor of Poverty Point, Everyone’s Magazine 1928
According to Australian Variety 16 May 1917,
Howard originated the Sunday night concerts at the old Gaiety Theatre and began presenting vaudeville and pictures around a small circuit in Sydney. Around late 1913, he joined forces with Frank Graham. According to the Australian Variety Theatre Archive, he was sometimes referred to as ‘the King of Drolls’ and was renowned for conducting his business from a doorway at Sydney’s Poverty Point, often leaving messages in chalk on the footpath. Howard’s official place of business was not the doorway but an upstairs office.
Bert Howard Australian Variety 1917
(Dr Clay Djubal. Australian Variety Theatre Archive)
In 1917 Howard teamed up with the relatively inexperienced vaudeville artist/manager, Ike Beck, who was known in Sydney circles as the “fashion plate”. Together they presented vaudeville and pictures in Redfern, Mascot, Leichhardt, Burwood and Rozelle. The operations were known as Beck and Howard’s Vaudeville Enterprises. The partnership did not last long, reflecting their quite different backgrounds – Beck being the style-conscious man-about-town, and Howard a street fighter from The Rocks. Howard continued as a vaudeville and picture show entrepreneur right up until at least the early 1930s
Two articles published in Everyone’s towards the end of the 1920s also indicate that Howard’s career in the suburbs during the early film years was one of a pioneer. In this respect, he routinely presented film and vaudeville to audiences who only visited the larger city-based entertainment venues on an infrequent basis.
It is not generally known that Bert Howard was at one time a picture showman, and many Sydney suburbs now possessing an elaborate theatre saw its first films screened by ‘Howardscope’. ‘the Droll’ specialised in Sunday evening screenings, and he numbered among his audiences of the time many who are now prominent exhibitors. In addition to the pictorial offering, artists helped the show along. The favourites included Clyde Cook, Nat Phillips, George Sorlie, Tom Armstrong, Bronco Wallace and George Clements, who was the real big noise with a line-up of illustrated songs. With such films as the ‘Life and Death of Ned Kelly’ and ‘The Life of Buffalo Bill’, the show was always good for extending the season to three or four nights in all centres (9 Jan. 1929, 49). I used to be a magnate in the days when the only two-syllable word anyone in the picture business knew was ‘Fillum.’ We had the ‘Howardscope,’ Harry Harrison, Joe Dunn, Daddy Franklin, and me, with Humbert Pugliese as operator. It was one of the first movie outfits to go on tour, with the Clement Bros, Charles Rodgers, Olive (Baby) Carr, Doris Tindall, Jack West, Baby Josie Johnson and Scott and Wallace as added attractions. Just as well we had those added attractions because half the time we had no picture show. Plop-flop-plop! And the machine was a bust (11 Dec. 1929).
* * *
Stage And Radio Star – Fred Bluett. (Sun (Sydney,) 4 December 1942).
Fred Bluett, stage and radio star, died suddenly at his home in Double Bay last night. He was 66.
Earlier In the night, he had played Albert, the Cockney air warden, in a revival of ‘Searchlights Over London’ over the ABC.
Comedian and variety sing, Fred Bluett.
He created this part for radio about two years ago. Mr Charles Wheeler, stage manager of the studio, said this morning that Mr Bluett gave an excellent performance and seemed in the best of spirits. “He died in harness,” said Mr Wheeler, a lifelong friend, “and that’s how he would have wished it. A very fine artist and a loveable fellow.”
Fred Bluett, son of theatrical parents, came to Australia when he was 17 to learn the boot trade from his brother-in-law. Later he took up boxing. When knocked out by what he always called “a simple trick” by Bob Fitzsimmons, he returned to the stage. He was 12 years on Harry Rickards’ vaudeville, circuits, and well-known in nigger minstrel shows. He was also with Fullers and had his own companies. Father of the late Gus Bluett and Belle and Kitty, he had been married for 41 years. His wife survives him. Fred Bluett will be remembered for his gags. His final words to Liza Albert, the air warden: “If I had to choose between ten-bob and a kiss from you, Liza. it’d be hard to take the ten-bob.”
After a short service commencing at 2.30 pm tomorrow, Mr Bluett’s funeral will leave the Kinsela Funeral Parlours, Darlinghurst, for the Rookwood Crematorium.
* * *
Fred Bluett’s children followed him into the theatre. His son, Gus, became highly successful in continuing the family name under the vaudeville spotlights.
Mr Gus Bluett (1902-1936). Comedian’s Funeral. (Sydney Morning Herald, March 1936)
Gus Bluett 1932
A dense crowd of many thousands of people assembled in Taylor Square, Darlinghurst, yesterday afternoon to pay a last tribute to Gus Bluett, the comedian. His funeral left Kinsela’s funeral parlour about three o’clock for Rookwood Crematorium. Before the service at the funeral parlour, police had had to make laneways through the crowd to prevent it from blocking the traffic. There was room for only a few of the mourners in the chapel. Most of these were members of the theatrical profession. Gus was the son of the music hall variety star Fred Bluett.
The funeral procession moved slowly away through a throng of people, and for some distance, Oxford Street was lined with people who had waited a long time for the funeral to pass by.
As the cortege entered the gates of the Crematorium at Rookwood an aeroplane piloted by Mr P. More-MacMahon circled overhead, and swooping suddenly over the procession, dropped a wreath of red flowers and green foliage.
Tears at the Passing of a Prince of Mirth. Gus Bluett. (Daily Telegraph, 17 March 1936)
Everybody… laughed, until yesterday, with Gus Bluett. His job in life had always been to make people laugh with him. It was never a hard job. But yesterday, they wept. Other comedians, even, used to laugh with him, and yesterday – they wept. It was the Punchinello theme. They sat in Kinsela’s funeral chapel and wept – the highest tribute old-timers and new could pay to a fellow comedian – a dead boy of 32 – was to weep at his last curtain. The chapel was a small theatre, it was Gus Bluett’s smallest house. He lay in a coffin, surrounded by flowers. It was difficult to see who was who because all their heads were bowed.
But there was George Dean, who was a comedian with the first Gaiety Company, very, many years ago; and George Audley, Charlie Vaude (of Vaude and Vern), the Kelleways (Sylvia, Jack, and Leon), Bertie Wright, Norman Barrington, Jack Phillips (brother of Nat), Grant Hanlon, Harry Ross, James Douglas (father of Bill), Frank Herbert, Phil Smith, Lyla Thompson, Paddy Racoon, Mae McKenzie, Harry Linden, Charles Howard and many others. His father, Fred, of course. What a tribute the troupers paid to a boy of the new generation! Jim Demetria, Gus Bluett’s old dresser, was not sitting down in the chapel. He stood to the wings — in the curtained doorway, as he always had done, as if waiting for Gus to come off. This was the last Change.
Crowds Outside at the final Stage Door, thousands waited to see the great comedian go Home. They lined the streets for hundreds of yards. Yesterday’s crowd was perhaps the quietest and most sombre Sydney had seen for years. Only they exclaimed at the flowers, glorious, piled high, in the leading car and on the hearse. They said that Gus Bluett’s live performance was a triumph. His last curtain was his greatest. The chief mourners were Mr and Mrs Fred Bluett (father and mother). Misses Belle and Kitty Bluett (sisters), and Lee Coney (cousin). It was a sad last tribute to a man whose mission in life was to make the world laugh.
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Scene from ‘Boccaccio’ at the Sydney Opera House. Illustrated Sydney News 1883.
Nellie Stewart (1858-1931) – Sweet Nell of Drury Lane.
Nellie Stewart, born Sydney 1858, was one of Australia’s most popular music hall and theatre actors and universally referred to as ‘Our Nell’ and ‘Sweet Nell’. She was undoubtedly the first and most-loved idol of the Australian stage. Born into a theatrical family, Stewart began acting as a three-year-old child when she appeared at the Haymarket Theatre. As a young woman, she built a career playing in operetta and Gilbert and Sullivan productions. In 1902, Stewart had one of her greatest successes in the title role in Sweet Nell of Old Drury and found another success at the end of the decade in Sweet Kitty Bellairs. After this, she performed in both comedy and drama and worked in theatre management through the 1920s.
Nellie Stewart, Australia’s music hall and Vaudeville star. Table talk (Melbourne) 1909.
Beautiful in face and figure, full of vivacity, a natural actress, she also had an excellent soprano voice which she lost in middle life probably from over-working it. She took her art seriously, lived carefully and never lost her figure. She had remarkable success at playing “younger” parts late in life. She had great versatility, and after being for many years at the head of her profession in Australia in light opera, she was able, after the loss of her voice, to take leading parts in non-musical comedy and drama. Though not judged a great actress, she was influential in emotional and comic roles. Her autobiography displays a woman of charming character, kindly, appreciative of the good work of others and free from the petty jealousies often associated with stage life. She had the admiration, affection and respect of Australian playgoers, both men and women, for 50 years. (Wikipedia)
Nellie’s starring roles included Sweet Kitty Bellairs, Mabel in Pirates of Penzance, Phyllis in Iolanthe, Yum-Yum in The Mikado, Marguerite in Gounod’s Faust, the title role in Princess Ida, Gianetta in The Gondoliers, Elsie in the Yeoman of the Guard, Rosette in Mam’zelle Nitouche and the title role in La Cigale. Stewart was to take leading roles in 35 comic operas. When the Duke and Duchess of York came to Australia to open the first federal parliament, Stewart sang the ode ‘Australia’ at the beginning of the musical programme. In February 1902, she had one of the most significant parts of her career, Nell Gwynne in Sweet Nell of Old Drury. Other comedy parts followed in Mice and Men and Zaza. Stewart reached her largest salary in the last play, £80 a week.
Stewart died, aged 72, on 21 June 1931 at her Mosman residence in Sydney. Her illness was reported as short and the result of heart trouble and pleurisy. Crowds gathered in Sydney for her funeral on 24 June 1931. People lined the streets and thronged around St. James’ Church, where the first of several services was held. Stewart’s remains were cremated at Rookwood Necropolis in Sydney after another service, and her ashes were taken to Melbourne.
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Australia’s Favourite Clown – Roy ‘Mo’ Rene (Harry van der Sluice) (1891-1954)
If there is one name synonymous with the development of early Australian stage humour, it would be that of Harry van-der Sluice, although he was better known as Roy Rene or by the simple moniker of ‘Mo’.
Born in Adelaide in 1891 into a Dutch-Jewish Australian family, his career spanned over fifty years as a vaudeville star, theatre, film and radio.
At ten years of age, Harry won a singing competition at the Adelaide market, and in 1905 appeared professionally in the hit pantomime, Sinbad the Sailor, at the Theatre Royal. Soon after he joined the Tivoli circuit in a singing and dancing act.
He adopted the stage name of ‘Roy Rene’ in 1910, inspired by a famous French clown. Roy Rene’s distinctive stage black and white face make-up, along with his large soulful brown eyes, became his trademark. He was destined to become one of the world’s greatest clowns.
In 1914 he moved to Sydney and joined Bain’s Princess Theatre at Railway Square and then Fuller’s National Theatre. He was a master of comedy and song, often on the edge of risqué, yet he was a devoted family man off stage. In 1929 he married comedienne and singer Sadie Gale, constantly touring and recording together.
In 1916 Roy Rene teamed up with another Jewish comedian and singer, Nat Phillips, and together they performed as Stiffy and Mo. They were an instant success, renowned for their larrikin and somewhat bawdy humour; they smashed theatre box office records wherever they played.
Throughout the twenties and thirties, Roy Rene toured Australia and New Zealand extensively, especially for the Tivoli Circuit, performing comedy, straight theatre and variety shows.
In 1934 film director Ken G. Hall cast him as the lead in Cinesound’s Strike Me Lucky, a feature movie – the title originating from Mo’s best-known expression. Mo’s expressions became popular slang, including ‘You beaut!’ ‘’Strewth!’!’ and ‘Fair shake of the sav.’
Roy Rene’s character, the unsuccessfully posh, top-hatted ‘Mo of McCackie Mansion’, jumped from the stage in 1946 to become a radio favourite with ‘McCackie Moments’ and, later, as ‘Professor McCackie’ in ‘It Pays to be Ignorant’.
Harry van-der Sluice died of heart failure in November 1954 at his Kensington, Sydney, home. He was 63 years of age. He left a legacy of laughter. The annual Mo Award for excellence in Australian Performance is named in his memory.
Harry Sadler (1879-1919) – Variety King.
Although he died at the young age of 40, Harry Sadler was a prominent and successful variety performer and producer.
Australian Variety Theatre Archive (www.ozvta.com)
Sadler was one of the more enigmatic Australian vaudeville personalities of the early twentieth century. Pocket-sized, energetic, feisty and a hustler and a spieler in every sense of the word, he perhaps came closer than any other locally born performer/manager in matching Harry Clay’s record of achievement as a vaudeville showman. At his height of fame and popularity, Sadler ruled Sydney’s Princess and Gaiety theatres and was well-known throughout much of the country – notably in Tasmania, Victoria and Western Australia. However, unlike Clay, who’d learnt to curb his temperament and channel it constructively, Sadler found himself riding the waves of success and despair throughout his career – a career cut short by his suicide in the wake of financial problems and a highly publicised scandal
Harry Sadler. Australian Variety 1919.
Harry Sadler Dead. (Table Talk (Melbourne), November 1922)
Associated mainly as both a performer and manager with the Fullers for much of his career, Harry Sadler was also associated with Harry Rickards and Harry Clay. By 1913 he had moved into management, co-operating a circuit in Tasmania (Sadler and Beveridge Vaudeville Co), and later in Melbourne, regional Victoria and in Perth. In 1916 he arranged with the Fullers to lease the Princess Theatre (Sydney) with Jack Kearns. Later that year, Nat Phillips premiered his Tabloid Musical Comedy Company (starring Stiffy and Mo) under the Kearns/Sadler management. Sadler continued to perform on stage regularly in addition to his managerial career. He returned to Tasmania with a semi-permanent company in 1917 before again taking up another Fuller’s management position at the Princess Theatre. In early March 1918, he toured a company to Perth (Melrose Theatre) but soon afterwards, he was embroiled in a controversial lawsuit against him by one of his female artists. After losing the case, Sadler returned to Sydney to run the Gaiety Theatre for the bookmaker and Australian Variety manager, Andy Kerr. The following year he committed suicide.
Dive to Death. Suicide of Harry Sadler. (Telegraph (Brisbane), 24 July 1919)
Harry Sadler, a well-known figure in vaudeville circles, met his death in sensationally tragic circumstances yesterday. A little after 10 o’clock, Sadler was seen standing on the parapet of the bridge which spans the Homebush to Glebe Island railway line, at the foot of Norton Street, Leichhardt. He called out to a man and woman who were passing, “Good-bye; you’ll find my body below,” then he dived over the parapet onto the line below. A sergeant removed the body, which showed shocking injuries to the head. It was taken to the morgue, where it subsequently was identified as that of Henry Sadler, late manager of the Gaiety Theatre, in Oxford-street, Paddington.
Jack Cannot – character actor
Jack Cannot (1883-1929). Kookaburra’s Laugh Fitting Farewell. (Truth, 4 August 1929).
A kookaburra in a nearby tree cackled merrily as the body of Jack Valentine Cannot was lowered into the grave at Rookwood Cemetery yesterday.
That was the great little comedian’s last laugh. But a handful of mourners followed the funeral cortege from the train to the graveside, but this was explained by the fact that the burial occurred on a Saturday, the thespians’ busy day, and one which was bound by the cast-iron rules of matinee performances. A poignant figure was the deceased actor’s wife, Mrs Stella Cannot, as the solemn words of the burial service were intoned.
Another mourner who was visibly affected was variety legend, Mr Fred Bluett. ‘Dear old chap, I cannot realise that he is dead!’ he told Truth with tears in his eyes. ‘It was he who first got my son, Gus, a chance with the ‘Firm,’ and I shall never forget that.’
Jack Cannot as character actor
‘He was always so optimistic and cheerful,’ recalled Mr Roland Poster of the State Conservatorium of Music. ‘I’m sure that if any of his friends had known of his straits, they would have helped him, but unfortunately, he was never a man to hawk his troubles about.’ There were no speeches at the graveside, all present being too sorrowed to give oral expression to their sentiments, while even the chaplain contented himself with other than the strict service, a few words of comfort for Mrs Cannot. ‘There lies Jack Cannot— Jester’.
The Empire Theatre, Haymarket
Wirth’s Hippodrome 1915
A partial list of early Sydney theatres (with approximate dates and locations)
Robert Sidaway’s Theatre (thought to be present-day Bligh Street)
Theatre Royal 1826 (in a grain warehouse)
Theatre Royal 1833 (Hotel Royal, George Street)
Australian Olympic Theatre (Hunter Street)
Adelphi Theatre 1850 (York Street)
Royal Australian Circus 1850s (in yard of Adelphi Theatre) Then name changed to Adelphi.
Royal City Theatre 1843 (Market Street)
Prince of Wales Theatre 18
The Queens 1873
Theatre Royal (rebuilt after 1880 fire)
Sydney Opera House 1879 (Kings Street)
Gaiety Theatre (Castelreagh Street)
Royal Standard (in Royal Forester’s Hall, Central)
Criterion 1886
Her Majesty’s Theatre 1887 (Pitt Street) (and Grand Opera House). Her Majesty’s burnt down in 1902 and rebuilt 1903.
The Empire 1927
Lyceum 1891-92
The Palace 1896
The St James 1926
Tivoli Hay Street 1933
Alhambra 1886 (Haymarket)
Palace of Varieties 1896