Posts Tagged ‘Carrie Moore’

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Gabrielle Ray’s birthday, 28 April; views on the effects of motoring on kissing

April 28, 2014

Gabrielle Ray (1883-1973), English musical comedy dancer and actress, who celebrated her birthday on 28 April.
(photo: Bassano, London, circa 1909)

‘THE MOTOR MOUTH.
‘EFFECTS ON KISSING.
‘The medical specialist who recently had the hardihood to assert that motoring would ultimately put an end to kissing, because it made the lips hard, will find few supporters among lady motorists, who are practically unanimous in describing his prophecy as nonsense.
”’King goes by favor,” said one young lady, ”and perhaps it is because no one will kiss him or take him for a motor drive that the poor man is setting up to be an authority on something that we understand better then he does.”
‘From the many inquiries made recently a Daily Mail representative arrived at the conclusion that ladies will not accept as a scientific fact that statements of the medical pessimist.
”’Motoring will go out of fashion before kissing will,” said Miss Marie Studholme. ”The gold wind makes one’s face hard for a little while, but most of the kissable people in the world are now motoring.”
‘Miss Gabrielle Ray thinks the medical specialist is a very funny man; ”but as I don’t go in for kissing,” she said, ”I don’t know much about hard mouths. I have done a lot of motoring, but very little kissing. At the same time, I think it would be a pity to discourage those who like kissing because it seems to please them very much. If I have by accident kissed anyone I have never heard any complaint about my mouths; but there, you see, I put cream on my face when going out in a motor-car, because before I used to do so the wind made my face very dry.”
‘Mlle. Mariette Sully, the charming French actress at Daly’s Theatre [in <HREF=http://en.wikipedia.org/wiki/The_Merveilleuses>Les Merveilleuses], says it is very wicked of the doctor to talk like that. ”If he had said that motoring sops kissing because the automobile shakes so much,” she could understand him; ”but hard lips, oh, no, not at all.”
‘At the Apollo Theatre Miss Carrie Moore [who is appearing in The Dairymaids] holds the same views. ”Motor drives do not make the lips hard. Of course not. Motoring is lovely, and I am sure it won’t put kissing out of fashion.”
‘At the Gaiety Theatre [where The New Aladdin began its run on 29 September 1906] Miss Kitty Mason suggested that motoring will cause wrinkles round the eyes. ”People screw up their eyes when motoring,” she said, ”and I think that must eventually cause wrinkles.” ”Oh, I hope not,” said the other ladies so loudly that Mr George Edwardes had to call for order to allow the rehearsal to proceed.’
(The Grenfell Record and Lachlan District Advertiser, Grenfell, NSW, Australia, Saturday, 27 October 1906, p. 3c)

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Phyllis Dare as Peggy in The Dairymaids, 1907-1908

October 8, 2013

Phyllis Dare (1890-1975), English actress, singer and star of musical comedy as she appeared in The Dairymaids, a farcical musical play, with music by Paul Rubens and Frank E. Tours, 1907-1908
(photo: Foulsham & Banfield, London, 1907/08)

The Dairymaids was first produced by Robert Courtneidge at the Apollo Theatre, London, on 14 April 1906, with Carrie Moore in the leading role of Peggy. The piece ran for 239 performances and closed on 8 December 1906. Courtneidge organized various tours of The Dairymaids, including one for the autumn of 1907 which began at the Gaiety Theatre, Douglas, Isle of Man, on Monday, 19 August, with Phyllis Dare playing Peggy. Miss Dare was obliged to abandon her appearances for two weeks (Belfast and Sheffield) because of laryngitis, when the part of Peggy was taken by Violet Lloyd.

After a break during the Christmas season of 1907/08, during which Phyllis Dare appeared with Carrie Moore, Gwennie Hasto, Esta Stella, Rosie Berganine, John Humphries, Dan Rolyat, Stephen Adeson and Fred Leslie junior in the pantomime Cinderella at the Theatre Royal, Birmingham, she was again seen as Peggy in The Dairymaids. The production opened at the Queen’s Theatre, London, on 5 May 1908 for a run of 83 performances and closed on 18 July 1908.

* * * * *

‘LONDON, May 13 [1908]… . Revival of The Dairymaids this week at the Queen’s, the newest of London theaters, brings up that precocious little actress, Phyllis Dare, who, although she has been an established London favorite for three years, is only 19 years old. She has more ”puppy” adorers than any other woman on the English stage. The junior ”Johnnydom” goes mad over her, assures her of a well-filled house whenever she appears, and buys her postcards in thousands. It was the fair haired Phyllis who was summoned back from boarding school in Belgium when only 17 years of age to assume Edna May’s part in The Belle of Mayfair, when that independent American actress threw up her part because of the importance given to Camille Clifford, the original ”original” Gibson girl. The papers made so much of the fact that the little Phyllis’s studies had been interrupted by the siren call of Thespis that she packed the playhouse for many weeks with a curious public, many of whom had never before heard her name. Now I hear that Miss Dare will shortly essay the role of Juliet at a special matinee to be arranged by Robert Courtneidge, her manager.’
(Deseret Evening News, Salt Lake City, Utah, Saturday, 23 May 1908, p. 16c)

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Belle Ross in The Dairymaids on tour in the UK during 1908

October 2, 2013

Belle Ross (active 1907/09), English actress and dancer, as she appeared in a United Kingdom tour during 1908 of The Dairymaids
(photo: Bassano, London, 1908)

Belle Ross first came to notice during the Christmas season of 1907/08 as Little Red Riding Hood in the touring pantomime, A Fairy Pantomime; or, Little Red Riding Hood, which opened at the Lyceum Theatre, Ipswich, before moving on to the Royal Theatre, Peterborough, and then to the Royal Theatre, Norwich. She next appeared during 1908 as Rosie in a touring production headed by Phyllis Dare of The Dairymaids, a farcical musical play. The following Christmas Belle Ross was seen as Lord Chestnut in the pantomime, Cinderella, which was produced at the Adelphi Theatre, London, on 24 December 1908, with Dan Roylat as the Baron, Mabel Russell as Mopsa, Carrie Moore as Rudolph and Phyllis Dare in the title role.

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October 2, 2013

Belle Ross (active 1907/09), English actress and dancer, as she appeared in a United Kingdom tour during 1908 of The Dairymaids
(photo: Bassano, London, 1908)

Belle Ross first came to notice during the Christmas season of 1907/08 as Little Red Riding Hood in the touring pantomime, A Fairy Pantomime; or, Little Red Riding Hood, which opened at the Lyceum Theatre, Ipswich, before moving on to the Royal Theatre, Peterborough, and then to the Royal Theatre, Norwich. She next appeared during 1908 as Rosie in a touring production headed by Phyllis Dare of The Dairymaids, a farcical musical play. The following Christmas Belle Ross was seen as Lord Chestnut in the pantomime, Cinderella, which was produced at the Adelphi Theatre, London, on 24 December 1908, with Dan Roylat as the Baron, Mabel Russell as Mopsa, Carrie Moore as Rudolph and Phyllis Dare in the title role.

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John Bardsley (1883-1916), English tenor

September 21, 2013

autographed halftone postcard photograph of John Bardsley (1883-1916), English tenor
(photo and postcard: unknown, United Kingdom, circa 1910)

Before leaving for the United States in August 1913 to fulfil a contract with the Aborn Opera Company, John Bardsley sang at several Promenade Concerts in London between 1906 and 1911. Among other commitments (see below) he also appeared in two musical plays: Butterflies, at the Apollo Theatre, London (12 May 1908), with Ada Reeve, Louis Bradfield and Hayden Coffin; and A Persian Princess, at the Queen’s Theatre, London (27 April 1909), with George Graves, Carrie Moore and Ruth Vincent. He also made a number of gramophone recordings.

‘Shortly after singing faintly, ”Drink to me only with thine eyes,” John Bardsley, a tenor who formerly was a member of the Covent Garden Opera Company in London and the Century Opera Company in New York, fell back on his bed and died.’
(The Wairarapa Daily Times, Saturday, 13 May 1916, p. 3b)

‘New York. – Dying of pneumonia, John Bardsley, tenor, sat up in bed, sang ”Drink to Me Only With Thine Eyes,” and fell back dead.’
(The Day Book, Chicago, Illinois, Friday, 7 April 1916, p. 30b)

‘JOHN BARDSLEY BURIED.
‘Was Formerly Well Known as a Singer of Operatic Roles.
‘John Bardsley, formerly a well known tenor of the Aborn Opera Company and for the last two years one of the entertainers at Shanley’s, was buried yesterday from the undertaking rooms at 2748 Broadway. He died early Thursday morning of pneumonia.
‘Mr. Bardsley was born in Lancaster, England, and was 32 years old. He won the Ada Lewis free scholarship at the Royal Academy of Music in London when 17 years old and at 25 was tenor with the Beecham Opera Company at the Covent Garden. He made his first appearance in the United States with the Aborn troupe and was especially successful in light opera roles. One of his best successes was in ”Pinafore” at the [New York] Hippodrome [9 April 1914].
‘His wife and three small children were at his bedside during his illness. Mr. Bardsley leaves three brothers, all of whom are with the British troops in France, one of them being a captain. Burial was at Woodlawn Cemetery.’
(The Sun, New York, Saturday, 8 April 1916, p. 9g)

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Myra Hammon

June 16, 2013

Myra Hammon (1886?-1953), Australian singer, actress and pantomime principal boy
(photo: unknown, probably UK, circa 1914)

Myra Hammon appears to have begun her career with J.C. Williamson’s Musical Comedy Company, touring Australia in 1902 and 1903 in Florodora and The Circus Girl. She afterwards in 1906 began a partnership with Alice Wyatt and together they were billed as a serio-comic duo or ‘the Sandow Girls.’

Tivoli Theatre, Adelaide, Saturday evening, 16 February 1907
‘The Tivoli Theatre was crowded in every part on Saturday evening, when a change of programme was given, and several new artists made their first appearance. The performance was bright and lively all through, and called for vigorous demonstrations of appreciation. The Sandow girls, Misses Myra Hammon and Alice Wyatt created a favourable impression, first by their physique, and next by their vocal talent. In the second part they gave an amusing travesty of heavy weight-lifting and Sandow exercises, and the ease with which they manipulated huge dumbbells afforded genuine mirth, not unmixed with astonishment on the part of many in the audience.’
(The Advertiser, Adelaide, South Australia, Monday, 18 February 1907, p. 8 f; the Sandow Girls routine would appear to have been inspired by the song sung by Carrie Moore, herself an Australian, and chorus in the London production of The Dairymaids, a musical comedy which opened at the Apollo Theatre, London, on 14 April 1906)

Hammon and Wyatt were included in Allan Hamilton’s Mammoth Vaudeville Company, when it played at the Theatre Royal, Hobart, Tasmania, on Saturday, 15 June 1907.

‘Myra Hammon and Alice Wyatt, the Australian Sandow Girls, are doing splendidly in Great Britain, and having a good time.’
(The Newsletter: an Australian Paper for Australian People, Sydney, New South Wales, Saturday, 14 August 1909, p. 2c)

‘Myra Hammon and Alice Wyatt, the Australian Sandow Girls, are touring the Continent, opening at Vienna in August.’
(The Newsletter: an Australian Paper for Australian People, Sydney, New South Wales, Saturday, 21 August 1909, p. 2a)

At Christmas, 1910, Myra Hammon and Alice White were appearing in the pantomime of Babes in the Wood at Brixton, South London. Shortly afterwards they seem to have gone their separate ways and in the Spring of 1914 Miss Hammon was married:
‘News has leaked out in Birmingham (Eng.) of the marriage, which took place quietly in a registrar’s office, of one of the local ”principal boys” – Miss Myra Hammon. The happy man is Mr. Charles Butler, a well-known business man in that city. Miss Hammon is leaving England for a world’s tour, including Australia, South Africa, and India. In the [music] halls she appears with her sister, Edie [sic] Wyatt, as ”Hammon and Wyatt, the Australian Sandow girls and singers.’
(The West Australian, Perth, Western Australia, Saturday, 4 April 1914, p. 9g)

Miss Hammon did not retire from the theatre until about 1920, however. She was the Prince Perfect in the pantomime Cinderella at Christmas 1914 at the Grand Theatre, Middlesborough, before appearing in Look Out, a revue, produced on 4 October at the Empire, Newport, prior to an extended tour, including the Hippodrome, Leeds, the Empire, Finsbury Park, and the Hippodrome, Newcastle-upon-Tyne. Cast included Ennis Parkes (Mrs Jack Hylton). Myra Hammon was then seen as Principal Boy in the pantomime Babes in the Wood at the Alexandra Theatre, Birmingham, at Christmas 1916, and again at the Bordesley Palace, at Christmas 1919.

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The Blue Moon

April 29, 2013

colour lithograph cover (after original artwork by Richard Pannett) to the score of The Blue Moon, a musical play by Harold Ellis, revised by A.M. Thompson, with lyrics by Percy Greenbank and Paul A. Rubens and music by Howard Talbot and Paul A. Rubens, published by Chappell & Co Ltd, London, 1905, printed by H.G. Banks Ltd.

The Blue Moon, was first produced at the Opera House, Northampton, on 29 February 1904, before its London premier at the Lyric Theatre, Shaftesbury Avenue, on 28 August 1905. The principal parts on the opening night in London were played by Courtice Pounds, Fred Allandale, Walter Passmore, Willie Edouin, Eleanor Souray, Florence Smithson (a stylized portrait of whom is on the above score cover), Billie Burke and Carrie Moore.

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Maude Odell

April 27, 2013

Maude Odell (fl. early 20th century), English model of feminine beauty, ‘the Original Sandow Girl’ (not to be confused with the American actress of the same name)
(photo: Bassano, London, 1906)

The references to Sandow and the body beautiful are to the internationally acclaimed German-born strongman and athlete, Eugene Sandow (1867-1925) who was billed as ‘The Most Powerful Man on Earth.’ Through his popular act he created something of a fad during the early years of the twentieth century for healthy living. It should also be noted that the shapely, white-clad beauties known as Sandow Girls – theatrical successors to Gibson Girls – first made their appearance in the farcical musical play, The Dairymaids at the Apollo Theatre, London, on 14 April 1906. In one scene they (played by Minna Moore, Dorothy Ward and others) and Carrie Moore, the leading lady of the show, were discovered exercising with ropes, punch-bags and dumbbells. The Dairymaids ran successfully until December that year, by which time Maude Odell had already made her mark at the Palace.

Palace Theatre of Varieties, London, November 1906.
‘The Palace had added a very agreeable item to its already amusing programme. It consists of the fine poses of a lady who is known variously as “Galatea,” “La Statue Humaine,” and Miss Maude Odell. Under whichever name you care to take her, or by any other, she remains sweet, delicate, attractive. The pictures which she realises in her, apparently, marble figure are extremely various. “The Dancer,” after Tadolini, in the Villa Borghesi, is very charming; Lord Leighton’s “Bath of Psyche” is well realised; the Luxembourg “Salambo” is another difficult pose remarkably well carried out. But each of the eight pictures are worth seeing. Music by Mr. Herman Finck and odes from the graceful pen of Mr. Clifton Bingham grace the production.’
(The Bystander, London, Wednesday, 7 November 1906, p.473b)

American Music Hall, New York City, January 1909
‘Maud Odell did not win any marked favour in her sketch, The Chamelion. The offering is so unpromising that comment is uncalled for. The posing of Miss Odell, however, was artistic and quite pleasing.
(The New York Dramatic Mirror, New York, Saturday, 16 January 1909, p.17d)

‘As she travels, Maud Odell, the English model of feminine proportions, has wrought out a definition of beauty in connection with which she has chosen to criticise American women. “Beauty is health,” she is credited with saying. “American women are not beautiful because they are anaemic. The cheeks are pale, their steps are not sprightly, they look as though they never drew a long, deep breath that swept the lungs. Americans should be the most beautiful of women because they have natural style and they are clever and vivacious. But they worship intellect and neglect the body.”’
(The New York Dramatic Mirror, New York, Saturday, 13 February 1909, p.2c)

Maude Odell
a half-tone photograph of ‘Miss Maude Odell (the Original Sandow Girl)’ published probably in 1906 by Weiners of London. The remainder of the caption reads, ‘Now appearing at the Palace Theatre, London as “Galatea” (La Statue Humaine), a Type of Beauty attained by the use of the “Sandow Symmetrion.”’
(photo: Wykeham, Balham, London, circa 1906)

Blaney’s Lincoln Square Theatre, New York City, February/March 1909
‘Maude Odell made her reappearance at Blaney’s Lincoln Square last week, in what was reported as a new act written and staged by James R. Gary. The posings were practically new, but the act is laid pretty much along the same lines as the old one. William H. Turner, Harold La Coste, and Daisy Chaplin gave adequate support with little to do. Miss Odell was greatly appreciated in her poses, but what is the reason for the sketch infliction? She could score a much greater hit with the elimination of this part. The poses included “The Water Carrier,” “Night,” “Skating,” “The Snake Charmer,” “Ode to Bacchus,” and “Beauty and the Beast.” Her supporting models contributed “A Fantasy, “Springtime,” “At the Seashore,” “Cupid and Venus,” and the concluding ensemble tableaux, “The Maid at the Bath.”’
(The New York Dramatic Mirror, New York, Saturday, 6 March 1909, p.9a)

Blaney’s Lincoln Square Theatre, New York City, March 1909
‘Maude Odell followed and received more applause than last week. Some of the poses were new ones and caused much favourable comment.’
(The New York Dramatic Mirror, New York, 13 March 1909, p.12b)

Blaney’s Lincoln Square Theatre, New York City, March 1909
‘Maude Odell, assisted by her six models, was seen in her newest posing act, The Maid at the Bath. As already stated in The Mirror, the sketch is stupid. The posings are well conceived and cleverly carried into effect. Miss Odell is seen to better advantage than heretofore and the entire offering is vastly superior to her former one.’
(The New York Dramatic Mirror, New York, Saturday, 20 March 1909, p.9d)

‘Why They Don’t Clap.
”’Have you seen the near perfect woman, Maude Odell?” she asked. ”No. You ought to see her. And if you want to be really amused, you ought to go and watch the men gazing at her wide-eyed, the men with their wives. They are taking in all her perfect points, but they are afraid to applied her on account of their wives. That beautiful, near perfect woman leaves the stage nearly every time without a handclap on account of the wives.”’
(Chillicothe Constitution, Chillicothe, Missouri, Saturday, 27 March 1909, p. 6d)

‘Most Perfect Woman in the World Is Here
‘Maude Odell, Who Won $10,000 Beauty Prize, Says It’s Easy to Be Handsome.
”’Every woman can be as perfectly formed as I am,” is the good news Maude Odell brings to dissatisfied femininity. The steady, truthful look in her large, clear brown eyes as she made the statement in the atrium at the Claypool [Indianapolis] Friday added its testimony to the conviction in her voice. She was having a week’s rest from vaudeville and was enjoying it.
‘It was at a little four-cornered dinner in honor of her birthday. ”Honest truth, I don’t have a birthday in every city I play,” she said in a rather startled tone, ”for I’m not that anxious to grow old.”
‘After some gallant bantering on the part of the men in the party to the effect that if she told her real age the local branch of the Gerry Society would get after the management of the Colonial Theatre, where she is to pose in living pictures this week, for allowing a child to appear on the stage in violation of any child labor laws that may exist here. Miss Odell, swearing all to secrecy, told her age. And it hasn’t been more than a decade since she was ”sweet sixteen,” either.
”’No, I’m not a crank on diet, for behold!” she said, daintily spearing a generous bit of indigestible lobster with a fork. The lobster went the way of other indigestibles, and the dinner ended with the only tribute to the ancient gods that have ruled beauties since Cleopatra’s time, a glass of milk.
‘Women Made to Be Attractive.
”’The real thing is exercise,” she went on. ”From my earliest recollection my father instilled into my mind always that women were made to be attractive. I pondered on his teachings even when a small child, and when he died I sought out Eugene Sandow and told him I wanted to be a perfect woman.
”’Sandow was struck with the novelty of a girl of 14 having that as a life ambition, and he and Mrs. Sandow took me in. I soon became their favorite pupil, and it is they who set me on the road to reach my life’s ambition.
”’After exhausting their methods I devised methods of my own, and today my system enables me to keep every one of my dimensions to a hair’s breadth.”
‘Miss Odell in her big picture hat and beautifully fitting black dress was a magnificent sight, and the lobster added to her attractiveness, showing that all this beauty was human.
”’It’s proportion that makes beauty,” she went on. It must not be supposed that she gave all this in the form of a lecture, for it was a birthday dinner, a very informal one, and her ideas on beauty were doled out in snatches, sandwiched in between bits of conversation on all sorts of common, everyday subjects.
”’It’s proportion that makes beauty, and a girl four feet high can be as beautiful as the regulation five-feet, eight-inch woman. Taking her height as a basis she should develop her other dimensions to correspond, and that is what I have succeeded in doing.”
‘Miss Odell, unlike the majority of physical culturists, neither swims nor rides horseback. Both exercises she considered detrimental to proper development, each tending to develop certain special muscles out of proportion to others.
‘She loves automobiling, but, unlike the vast majority of her sister artists of the stage, she admits that she is an amateur when it comes to running a machine. During her stay in Indianapolis she intends to take a spin on the Motor Speedway, but she will insist that the machine be under the guidance of an expert chauffeur. She has a horror of taxicabs, having been held up in Brooklyn not so very long ago for $12 for a single trip, though she admits she and her companion were partly to blame for insisting on a circuitous route when the conscience-stricken chauffeur wanted to drive direct.
‘Masters American Slang.
‘Miss Odell is English through and through, and talks with a strong English accent. During her residence in New York, however, where she has been a sensational vaudeville headliner, she has picked up a number of Americanisms.
”’How do you heat your flat?” she asked a local member of the party. ”’With hot air,” was the answer.
”’I hope you don’t furnish the hot air yourself,” she flashed.
‘Her mastery of American slang startled the Indianapolis members of the party and made her English manager open his eyes.
‘She has acquired the soda fountain habit – the ”American” soda fountain in England, be it noted, is a painful joke to American tourists who have been inveigled into investing in the wretched stuff dispensed – but she has not yet mastered the American sandwich habit, though she is taking lessons. She had her first roast beef sandwich a few days ago and found it very much to her taste.
‘Before coming to America, where, by the way, she will locate permanently, Miss Odell was a sensation in the capitals of Europe – London, Paris and Berlin. The winning of the $10,000 prize for the finest physical specimen of young womanhood was an incident.
‘Artists raved over her when she posed in living pictures, even the Berlin artists, the hardest in the world to please. She has had many tempting offers to pose for paintings and statuary, but has accepted none of them.
”’The only think I have consented to is to have a cast made of me for the British Museum,” she said. ”I have consented to that in order that my proportions may be permanently preserved.”’
(C.J.B., The Indianapolis Sunday Star, Indianapolis, Indiana, Sunday, Society & Stage, 23 January 1910, p. 1b-e)

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The Four Amaranths, acrobatic dancers

January 18, 2013

the Four Amaranths
(Mary, Tina, Jennie and Hannah, fl. early 20th Century),
acrobatic dancers (photo: unknown, circa 1915)

This hand tinted real photograph postcard, photographer and publisher uncredited, dates from about 1910. For reference to the Four Amaranths’ appearances in New York between 1915 and 1920, see the Internet Broadway Database.

‘FOUR AMARANTHS
‘A quartette of graceful lady acrobatic dancers. Some act.’
(The Wisconsin State Journal, Madison, Wisconsin, 23 February 1915, p. 6f, advertisement)

Keith’s, Philadelphia, PA, week beginning 23 April 1917
‘… The pretty dancing turn of Hooper and Marbury got something more than usual in the opening position. Both are good dancers, and pretty stage setting and costuming help get the act over in good shape. A dancing act of another kind – that of the Four Amaranths, who mix acrobatics with their stopping, closed the vaudeville bill, and the girls did very well without showing anything new.’
(Variety, New York, Friday, 27 April 1917, pp. 48D/49a)

The Amaranths troupe was originally composed of three sisters, known as the Three Amaranths (otherwise the Sisters Amaranth). They appeared in the musical play, The Cingalee; or, Sunny Ceylon, which was produced at Daly’s Theatre, London, on 5 March 1904. Their Perahara Dances were intended to enrich the exotic setting of the piece. ‘One of the most striking features in The Cingalee is the devil dancing by the Sisters Amaranth, who were greatly applauded by the Queen [Alexandra] on the first night.’ Other members of the cast included Hayden Coffin, Rutland Barrington, Fred Kaye, Huntley Wright, Sybil Arundale, Gracie Leigh, Carrie Moore and Isabel Jay, together with the dancers Loku Banda, Willie Warde and Topsy Sinden.

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January 11, 2013

Andrew Higginson as Danilo and Carrie Moore as Sonia
in the Australian production of The Merry Widow,
Her Majesty’s Theatre, Melbourne, 6 May 1908
(photo: Talma, Melbourne, 1908)

Carrie Moore as Sonia in The Merry Widow, Her Majesty’s Theatre, Sydney, and her sudden marriage, May 1908
‘Sydney, N.S.W., Nov. 25 [1908].
‘The theatrical sensation of the past month has been caused by the unexpectedly sudden wedding of Carrie Moore – at present appearing in the name part in The Merry Widow at Her Majesty’s Theatre – and the subsequent happenings. Hardly had Mr. and Mrs. Percy Bigwood recovered from the host of congratulations showered on them when news of their marriage leaked out, when a lady in the person of Ivy Salvin comes post haste from Melbourne and, through her Sydney solicitor, issues a Supreme Court writ, claiming £5,000 damages for alleged breach of promise on the part of the gentleman now known in Sydney as “Carrie Moore’s husband.” This action was subsequently settled to the satisfaction of both parties, and Ivy Salvin accepted her first theatrical engagement in The Belle of Mayfair at the Criterion Theatre, which engagement she is now relinquishing to enter the married state. Such is fame!
‘“Carrie Moore’s Husband” is a young Englishman of means, not altogether unknown on the African and Australian turf, where his racing colors have met with judge’s eye on more than one occasion.
‘Carrie Moore is retiring from the cast of The Merry Widow and returning to England, where she is under engagement to appear as principal boy under the management of Bob Courtneidge in the forthcoming pantomime of Cinderella at London’s Adelphi Theatre. Her place as the dashing Widow will be filled by Betty Ohls, an actress well known on your side, where in 1904 she appeared with the Bostonians as Maid Marian in De Koven’s Robin Hood, and subsequent American appearances include those in The Queen of Laughter, at Boston; The Student King, at Chicago, and The Rose of the Alhambra, in New York. She has recently been appearing at the Empire and Tivoli, London, in gesture songs.’
(The New York Dramatic Mirror, New York, Saturday, 19 December 1908, p.5c)