Gertrude Glyn as she appeared as Sonia during the run of The Merry Widow, Daly’s Theatre, London, 1907-1909

Gertrude Glyn (1886-1965), English musical comedy actress, as she appeared as understudy to Lily Elsie in the role of Sonia during the first London run of The Merry Widow, produced at Daly’s Theatre, Leicester Square, on 8 June 1907 and closed on 31 July 1909.
(photo: Bassano, London, probably 1908 or 1909; postcard no. 1792M in the Rotary Photographic Series, published by the Rotary Photographic Co Ltd, London, 1908 or 1909)

Gertrude Glyn began her career in 1901 at the age of 15 with Seymour Hicks when he cast her in one of the minor roles in the ‘musical dream,’ Bluebell in Fairyland (Vaudeville Theatre, London, 18 December 1901), of which he and his wife, Ellaline Terriss were the stars. Miss Glyn was subsequently under contract to George Edwardes, appearing in supporting roles at the Gaiety and Daly’s theatres in London and where she was also one of several understudies to both Gabrielle Ray and Lily Elsie. She also seen from time to time in other United Kingdom cities. Her appearances at Daly’s in The Merry Widow, The Dollar Princess (1909-10), A Waltz Dream (1911), and The Count of Luxembourg (1911-12) were followed during 1912 or 1913 by her taking the role of Lady Babby in Gipsy Love (also played during the run by Avice Kelham and Constance Drever), in succession to Gertie Millar.

On 10 April 1914, Gertrude Glyn and Elsie Spain sailed from London aboard the SS Otway bound for Sydney, Australia. Their first appearances there were at Her Majesty’s Theatre, Sydney, on 6 June that year in Gipsy Love in which they took the parts respectively of Lady Babby and Ilona, the latter first played in London by Sari Petrass.

Gipsy Love, Her Majesty’s Theatre, Sydney, 6 June 1914
‘A thoroughly artistic performance is that offered by Miss Gertrude Glyn, another newcomer, in the role of Lady Babby. Although her singing voice is not a strong point in her equipment of talent, this actress artistically makes one forget this fact in admiration for the skilful interpretation of her lines and lyrics, and also the gracefulness of her dancing and movements. Another point of excellence about Miss Glyn’s work is that she acts easily and naturally, always keeping well within the pictures and confines of the character she impersonates.’
(The Referee, Sydney, NSW, Wednesday, 17 June 1914, p. 15c)

Gertrude Glyn’s last appearances were as Lady Playne in succession to Madeline Seymour and Mary Ridley in Paul Rubens’s musical play, Betty, which began its long run at Daly’s Theatre, London, on 24 April 1915 and ended on 8 April 1916.

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Gertrude Glyn’s real name was Gertrude Mary Rider. She was the youngest daughter of James Gray (or Grey) Rider (1847/49-1900), a civil servant, and his wife, Elizabeth. She was baptised on 24 October 1886 at St. Mark’s, Hanwell, Middlesex. She married in 1918.
‘CAPTAIN BULTEEL and MISS GERTRUDE GLYN (RIDER).
‘The marriage arranged between Captain Walter Beresford Bulteel, Scottish Horse, youngest son of the late John Bulteel, of Pamflete, Devon, and Gertrude Mary Glyn (Rider), youngest daughter of the late James Grey Rider, and of Mrs. Rider, 6, Windsor Court, Bayswater, will take place at St. Paul’s Church, Knightsbridge, on Thursday, May 9, at 2.30.’
(The Times, London, 7 May 1918, p. 9c)
Bulteel, one of whose maternal great grandfathers was Charles Grey, 2nd Earl Grey (1764-1845), was born in 1873 and died in 1952; his wife (Gertrude Glyn) died on 16 October 1965.

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Julia Sanderson

Julia Sanderson (1887-1975), American actress and vocalist at about the time of her appearance in the musical comedy The Hon’ble Phil, Hicks Theatre, London, October to December 1908. G.P. Huntley, Herbert Clayton, Horace Mills, Denise Orme, Eva Kelly and Elsie Spain were the other principals.
(photo: The Dover Street Studios, London, 1908/09)

‘Two English Musical Plays At Rival Theaters This Week.
‘Two of George Edwardes’ London musical comedy successes will be the leading novelties of the week at the theaters, both The Quaker Girl and The Sunshine Girl being seen in Washington for the first time, the former after noteworthy engagements in London, New York, and Boston, and the latter coming to the Capital for its American debut after a continuous run of more than a year in the English metropolis, where it is till on view nightly at the Gaiety.
‘Washington will be particularly interested in the premiere of The Sunshine Girl at the Columbia tomorrow night, for upon this occasion a new Charles Frohman star will be evolved from the will be evolved from the nebulosity of chorus girl, soubrette, and leading lady. The honor is to be bestowed upon the talented and piquant Miss Julia Sanderson, who has been a Washington musical comedy favorite since the days of the ill-fated Dairymaids, whose cast she deserted during an engagement five years ago in the theater where she is now to become start.
‘Miss Sanderson’s career is not marked by many of those hardships which are usually related as warnings to the stage-struck girl. Her father, Albert Sackett, is an actor, and through his influence she secured an engagement with the Forepaugh stock company in her home city, Philadelphia. Here she divided her time between playing maid and pursuing her grammar school studies, for she made her debut in the theatre when she was 15.
‘As a member of the chorus with Paula Edwardes’ company in Winsome Winnie. Miss Sanderson entered the musical comedy field. She had an opportunity to play the title role when Miss Edwardes retired from the cast on account of illness. The understudy was at that time advertised as the youngest prima donna in the world.
‘But the sudden elevation did not result in any permanent advancement for Miss Sanderson. She went back to the ranks in A Chinese Honeymoon and in Fantana, but was given a hit when De Wolf Hopper revived Wang, after which she joined The Tourists.
‘Miss Sanderson has appeared in London in two successes, first with G.P. Huntley in The Honorable Phil and later with Ellaline Terriss in The Dashing Little Duke. ‘While not so recognized in the size of billboard and program type, Miss Sanderson has been a star in popular appreciation for two years, her graceful dancing, harm of manner, and small, but dulcet voice having won generous approbation in both The Arcadians and The Siren.
‘Mr. Frohman has engaged a capable musical comedy cast to support his new satellite. Joseph Cawthorn has for several seasons been a comedy mainstay for Elsie Janis, and Alan Mudie will be recalled as the agile dancer in The Arcadians.’
(The Washington Post, Washington, D.C., Sunday, 26 January 1913, Magazine Section, p.2a)