Phyllis Harding

Phyllis Harding (fl. Early 20th Century), as she appeared during the run of The 9 O’Clock Revue, written by Harold Simpson and Morris Harvey, with music by Muriel Lillie and additional numbers by J. Ord Hamilton, which opened at the Little Theatre, London, on 28 October 1922
(photo: Janet Jevons, London, circa 1923)

One of Phyllis Harding’s earliest appearances was in the successful revue The League of Notions, described by its writers John Murray Anderson and Augustus Barratt as ‘An Inconsequential Process of Music, Dance and Dramatic Interlude,’ which opened at the New Oxford Theatre, London, on 17 January 1921 and ran for 359 performances. The cast also included A.W. Baskcomb, Bert Coote, the Trix Sisters (Helen and Josephine), the Dolly Sisters (Jennie and Rosie) and Greta Frayne. After fulfilling a number of similar engagements in London and on tour, including an up-to-date version of Alice in Wonderland, Miss Harding appeared for several years on Broadway and subsequent United States tours in such productions as Noel Coward’s This Year of Grace (Selwyn Theatre, New York, 7 November 1928) and Conversation Piece (44th Street Theatre, New York, 23 October 1934).

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Teddie Gerard (1892-1942), Argentinean-born American actress and singer, in A to Z, a revue by Dion Titheradge, Ronald Jeans and Helen Trix, with music by Ivor Novello and Helen Trix, produced at the Prince of Wales’s Theatre, London, on 11 October 1921. Miss Gerard joined the cast in January 1922. (photo: unknown, London, early 1922)

‘The Finest Fashion Creation on the London Stage.

‘Miss Teddie Gerard, wearing a costume that has created a furore in London. Its lavishness and beauty has been the topic of much conversation by all who have witnessed the stage production A to Z, in which Miss Gerard appears. The gown is of gold cloth, decorated with pearls and diamonds, while the head-dress has long ear-rings set with diamonds that reach to the shoulders. This costume alone costs more than the aggregated cost of the costumes of an entire chorus.’ (uncredited press caption, USA, 5 February 1922)

‘Teddy [sic] Gerard, Famous Actress, Whose Back Vies in Contour and symmetry with the Reigning Favorite Backs of the London Stage.

‘… [Alice] Delysia’s back, it is said, figures all the way through the book from which her play was adapted. Teddie Gerard is another owner of a bewitchingly fashioned spine and she is exhibiting it to best advantage at the Prince of Wales Theatre… .’ (Dr. Millard, ‘I Wish I Could Make Beautiful Backs a Fashion,’ San Antonio Evening News, San Antonio, Texas, 20 October 1922, Magazine Section, p. 5)