Florrie Forde, Australian-born British music hall singer and pantomime principal boy

Florrie Forde (1876-1940), Australian-born British music hall singer and pantomime principal boy
(photo: Newby, circa 1930)

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Florrie Forde

Florrie Forde (1876-1940), Australian-born British music hall singer and pantomime principal boy, takes her benefit during the run of the pantomime Red Riding Hood, Prince’s Theatre, Bradford, Tuesday, 2 March 1909
(photo: J.P. Bamber Galleries, Blackpool, England, circa 1912)

‘FLORRIE FORDE’S BENEFIT.
‘GREAT ENTHUSIASM AT THE PRINCE’S.
‘BOUQUETS AND PRESENT GALORE.
‘The popularity of Miss Florrie Forde was never so manifest as it was last night, when, on the occasion of her benefit performance, a crowd that thronged every part of the Prince’s Theatre cheered her every song and greeted her every appearance with boisterous applause. At the end of almost every act there were bouquets to hand up from the orchestra. There were large bouquets, small bouquets, spray bouquets, and shower bouquets of every description, but all showing the admiration in which she is held. Nor was she alone favoured, for there were also gifts for many of the other artists.
‘The performance itself was specially attractive. James Elivo was given a well-deserved rest, his place being taken for the occasion by Mr. Nathaniel Hepworth, the genial acting-manager, who is shortly leaving to take up the managership of the Leeds Royal Theatre. In addition, a large number of artists had come from the music halls in Bradford, Leeds, and Halifax to add to the evening’s enjoyment.
‘The more serious and, from some aspects, the most pleasing, portion of the entertainment was during the seventh scene, when a number of interesting presentations were made. Mr. Francis Laidler, the proprietor-manager, stepped on to the stage and delivered a happy little speech. He commenced by saying that, as was well known, the pantomime had been a record so far as the Prince’s Theatre was concerned. They had still to run one week, making eleven and a half weeks in all, which, so far as he was able to gather, was the longest run of any pantomime in the kingdom, with the exception of Drury Lane. Every member of the company would agree with him when he said that much of the success was due to his principal boy, Miss Florrie Forde. Not only was she an able artist, but her personal charm had endeared her to all. She was held in the highest esteem by every member of the company, and was simply worshipped by the children. ”It is artists of the character and disposition of Miss Florrie Forde,” he concluded, ”who have raised the tone of the theatre and the music halls to such a high level as it is to-day.”
‘With a few appropriate words, Mr. James Elvio, on behalf of the company, then presented Miss Forde with a handsome silver eclectic centre lamp, suitably inscribed; and Mr. Bert Byrne was chosen to give her a fine picture of herself by a local artist from an anonymous donor. Many other gifts were then presented from private friends.
‘Miss Forde was loudly cheered on coming forward to respond. She thanks the company and the public generally for the kind way they had treated her. As regarded any work she might have been able to do for the charities, she was glad to say that next year she was to be in pantomime not far from Bradford, and she would no doubt be able to continue the work which had made her so happy.
‘At the request of Mr. Laidler, the audience sang ”For she’s a jolly good fellow,” which he said was quite in keeping, as she was principal boy.
‘Mr. H.T. Butler, the stage-manager, and Mr. Henry Rushworth, the musical-director, were the recipients of a gold pencil-case and a box of silver-backed brushes respectively, the gifts of Miss Forde.
‘Both replied happily, Mr. Rushworth mentioning the interesting fact that he would also be connected with Miss Forde during the next pantomime season as musical-director. This was afterwards explained by Mr. Laidler. Miss Forde is to be his principal boy in The Babes in the Wood at the Leeds Royal, which he has lately acquired, and where Mr. H. Rushworth is to go as musical-director in a week or so.
‘After the performance the presents and bouquets were shown on the stage. They completely covered the tops of two large tables.’
(Daily Telegraph, Bradford, Yorkshire, Wednesday, 3 March 1909)

Florrie Forde

an early appearance in Brisbane, Australia, of Florrie Forde (1875-1940), Australian-born British music hall singer and pantomime principal boy
(photo: unknown, probably UK, late 1890s)

‘THEATRE ROYAL.
‘THE ALL NATIONS MINSTREL COMPANY.
‘A complete change of programme was effected by the All National Minstrel and Novelty Company at the Theatre Royal on Saturday evening. The attendance was extremely encouraging, the house being packed in every part, many downstairs having to be content with standing room. The reception of the company was as enthusiastic as the audience was large; indeed, the demands for encores was at times monotonous, and certainly unfair to the performers. The members of the company, for the first part, which was of a miscellaneous character, were pleasingly grouped, and a liberal display of electric light and bunting aided in no small measure the management in its efforts to compose a brilliant stage picture. Mr. Edward Holland was the only new end man, his associates being Messrs. Alf. Lawton, Sam. Keenan, and Will. Leslie. These four knights of the burnt cork with their quips and cranks kept the fun going merrily, and eschewed as far as possible the recital of ”chestnuts.” Their efforts were well seconded by Mr. James Crayden, the interlocutor. The songs forming the first portion of the performance were, on the whole, well selected, and generally equally well sung. In ”The Fisherman and his Child” Mr. A. Farley’s fine basso voice was heard to advantage, and the undeniable demand for an encore was well merited. Miss Ella M’Donald was scarcely at home in her selection of ”Old Madrid,” but the popularity of the song has not waned – a fact testified to by the audience. Miss Lillie Rowley chose ”The night bird’s cooing” – a difficult number – and on the whole acquitted herself with credit. Perhaps the finest effort of the evening was Mr. Henry Clay’s interpretation of the fine old song ”The Anchor’s Weighed.” Mr. Clay did justice to Braham’s able work, and had to respond to a vociferously demanded repeat. The light and comic element was furnished by Miss Florrie Forde, Miss Clara Spencer, Edward Holland, Sam. Keenan, Will. Leslie, Alf. Lawton, and last as well as least – in point of size – Master Freddie Leslie. Honours in this department were shared by Miss Forde – who infused much life in recording the desires of a stage-struck maiden and was so far successful as to cause the ”gods” to cry, ”Good on you, Mary Ann” – and the juvenile Leslie. The second part opened with a vocal ballet based on a song which has many references to Monte Carlo, and danced by eight young ladies arrayed in somewhat gorgeous, if sparse drapery, who did a fair amount of high kicking. This was followed by an equally gay terpsichorean display by four ladies, described as a ”pas de quatre.” This had to be repeated. Master Freddie Leslie sang the now well-known comic song ”Close,” and gave a good account of himself. An Irish speciality by Craydon and Holland kept the audience well amused for nearly half-an-hour. These comedians are not unknown to Brisbane playgoers, whose anticipations on Saturday of something good were realised to the full. As a recall they sang a parody on the done-to-death American song ”After the Ball,” in which some really funny business was introduced. Miss Florrie Forde contributed ”As the church bells chime” with such effect as to secure an encore, and Sam. Keenan so disturbed the risible faculties of his auditors as to threaten serious consequences for some of them. It would be difficult to decide which was most grotesque – his facial expressions or his make up. The Leslie Brothers appeared in a sketch entitled, ”Music Mad.” This item was the gem of the second part. Not only were the audience amused by the witticisms of Fred. – who as burnt-cork artist has few rivals – but they were entertained with selections on most out-of-the-way instruments, but out of which excellent music was drawn. The entertainment concluded with a farce called ”Slatery’s Home,” in which six members of the company let their auditors into the secrets of an Irishman’s home, and furnished some scope for Alf. Lawton and Clare Spencer’s representation of the larrikin and his ”donah.” The same programme will be repeated until further notice.’
(The Brisbane Courier, Brisbane, Australia, Monday, 5 March 1894, p. 6d)

Deb St. Welma

Deb St. Welma
(photo: E. Dyche, Birmingham, circa 1917)

This real photograph postcard, probably dating from 1917, is by the photographer Ernest Dyche, 32 Coventry Road, near Bordesley Station, Birmingham.

Little is at present known of Deb St. Welma apart from the fact that she and Kitty Baxter were in a double act entitled ‘Sparking Titbits’ on a tour of various UK music halls during 1917. The present postcard of Miss St. Welma probably shows her as she appeared singing the chorus number, ‘There’s a Girl for Every Soldier’ which was recorded several times, notably in 1917 for the Zonophone label by Florrie Forde.

Louie Sherrington (fl. 1860S/1870s)
English music hall singer and serio-comic
as she sang ‘The Dancing Belle’,
also sung by Kate Garstone, Harriett Coveney and Emma Alford.

‘Yes! They call me the dancing belle,
A fact you may all see well,
The way I now dance, you’ll see at a glance
That I am the dancing belle.’

(song sheet cover with lithograph portrait of Miss Sherrington
by Alfred Concanen, probably after a photograph,
printed by Siere & Burnitt, published by C. Sheard, London, mid 1860s)

‘Of the tavern concert-rooms [in London], one of the earliest to burst its chrysalis state, and emerge into the full-grown music hall, was the Grapes, in the Southwark Bridge Road. This establishment was also one of the first to style itself a music hall in the modern sense of the term, and under the description of the Surrey Music Hall was well known to pleasure-seekers early in the [eighteen] forties. The hall, which was prettily decorated, was capable to seating as many as a thousand persons, and in the upper hall might be seen a valuable collection of pictures, which the enterprising proprietor, Mr. Richard Preece, had secured from M. Phillips, a French artist whom he was instrumental into introducing to the British public. The hall was provided with an excellent orchestra under the direction of Mr Zéluti, while the arduous position of manage was filled with great credit by Mr T. Norris. The clever Vokes Family were among the many well-known entertainers who appeared here. The company here used on an average to cost about £30 a week. Louie Sherrington sang here on many occasions, and Willie and Emma Warde were very successful in their song “The Gingham Umbrella,” besides whom Pat P. Fannin, a smart dancer, and Mr and Mrs Jack Carroll, negro banjoists and dancers, were rare favourites with its patrons.’
(Charles Douglas Stewart and A.J. Park, The Variety Stage, T. Fisher Unwin, London, 1895, pp. 47 and 48)

* * * * * * * *

‘Early women stars were Georgina Smithson, Louie Sherrington and Annie Adams. The last two were contemporaries and mostly sang versions of the songs of Vance and Leybourne, adapted for women. For instance, “Up In A Balloon, Boys,” became “Up In A Balloon, Girls.” Louie Sherrington was a very lovely women with a delightful voice; a predecessor of Florrie Forde, Annie Adams was of the majestic type then so admired, she was “a fine woman” – there was a lot of her, with a bust to match. With her very powerful voice, rich personality, a jolly, laughing face and manner, she banged her songs across the footlights and made the house rise at her.’
(W. Macqueen Pope, The Melodies Linger On, W.H. Allen, London, 1950, p. 314)

Louie Sherrington (fl. 1860S/1870s)
English music hall singer and serio-comic
as she sang ‘The Dancing Belle’,
also sung by Kate Garstone, Harriett Coveney and Emma Alford.

‘Yes! They call me the dancing belle,
A fact you may all see well,
The way I now dance, you’ll see at a glance
That I am the dancing belle.’

(song sheet cover with lithograph portrait of Miss Sherrington
by Alfred Concanen, probably after a photograph,
printed by Siere & Burnitt, published by C. Sheard, London, mid 1860s)

‘Of the tavern concert-rooms [in London], one of the earliest to burst its chrysalis state, and emerge into the full-grown music hall, was the Grapes, in the Southwark Bridge Road. This establishment was also one of the first to style itself a music hall in the modern sense of the term, and under the description of the Surrey Music Hall was well known to pleasure-seekers early in the [eighteen] forties. The hall, which was prettily decorated, was capable to seating as many as a thousand persons, and in the upper hall might be seen a valuable collection of pictures, which the enterprising proprietor, Mr. Richard Preece, had secured from M. Phillips, a French artist whom he was instrumental into introducing to the British public. The hall was provided with an excellent orchestra under the direction of Mr Zéluti, while the arduous position of manage was filled with great credit by Mr T. Norris. The clever Vokes Family were among the many well-known entertainers who appeared here. The company here used on an average to cost about £30 a week. Louie Sherrington sang here on many occasions, and Willie and Emma Warde were very successful in their song “The Gingham Umbrella,” besides whom Pat P. Fannin, a smart dancer, and Mr and Mrs Jack Carroll, negro banjoists and dancers, were rare favourites with its patrons.’
(Charles Douglas Stewart and A.J. Park, The Variety Stage, T. Fisher Unwin, London, 1895, pp. 47 and 48)

* * * * * * * *

‘Early women stars were Georgina Smithson, Louie Sherrington and Annie Adams. The last two were contemporaries and mostly sang versions of the songs of Vance and Leybourne, adapted for women. For instance, “Up In A Balloon, Boys,” became “Up In A Balloon, Girls.” Louie Sherrington was a very lovely women with a delightful voice; a predecessor of Florrie Forde, Annie Adams was of the majestic type then so admired, she was “a fine woman” – there was a lot of her, with a bust to match. With her very powerful voice, rich personality, a jolly, laughing face and manner, she banged her songs across the footlights and made the house rise at her.’
(W. Macqueen Pope, The Melodies Linger On, W.H. Allen, London, 1950, p. 314)