Pauline Chase as a mermaid, photographed by Bassano, London, 1907

Pauline Chase (1885-1962), American actress, celebrated for her portrayal of Peter Pan.
(photo: Bassano, London, 1907)

‘PAULINE CHASE, Who Charmed Every Child that Saw ”Peter Pan.”
‘In America – her native land – Miss Pauline Chase always went by the name of ”Polly Chase.” The nick-name was once the means of bringing her a slice of good luck. She was attending a race-meeting, and on looking down the list she noticed the name of ”Pretty Polly.” She knew nothing of racing matters, but thought it would be good sport to back her own name. She made her bet and came out a handsome winner time after time.
‘Miss Chase dearly loves children, and children idolise her in Xmas pieces.
‘She is fond of motoring, and owns two cars. A manager wanted her to go back to America, but she said: ”No, the roads are so much better for motoring in England.”’
(The Royal Magazine, London, October, 1907, p. 487)

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Hilda Trevelyan and Pauline Chase in a revival of J.M. Barrie’s fairy play, Peter Pan; or, The Boy Who Wouldn’t Grow Up, Duke of York’s Theatre, London, 16 December 1907

Hilda Trevelyan as Wendy and Pauline Chase as Peter in J.M. Barrie’s fairy play, Peter Pan; or, The Boy Who Wouldn’t Grow Up, revived at the Duke of York’s Theatre, London, 16 December 1907
(photo: Bassano, London, 1907)

‘The Christmas season in the playhouse has begun thus early, for the Duke of York’s has reopened for the fourth year in succession with Peter Pan, Miss Pauline Chase reappearing as Peter and Miss [Hilda] Trevelyan as Wendy. I know of no type of entertainment with the exception of the Savoy operas that has created such a cult as Peter Pan, and like those delightful entertainments it has introduced the playhouse in quarters where it was never heard of before. Peter Pan parties are likely to be the vogue of the day as they were last season, and there will probably be a new outburst of Peter Pan literature of various kinds.’
(J.M. Bulloch, The Sphere, London, Saturday, 21 December 1907, p.238a)

‘The vogue of Peter Pan is really extraordinary. The first night it was produced on this its fourth-year season it was received with almost hysterical enthusiasm by a house which knew every line of the script and every turn of stage management. Every new “line,” every new bit of business, came as a delightful surprise, and the entertainment was sent off with a welcome as hearty as the cheers which have just made Tetrazzini a lion elsewhere.
‘The other theatre entertainments for children – Alice in Wonderland not excepted – have never attracted such a huge audience as Peter Pan. This is rather astonishing, for unlike Alice it has curiously grown-up elements in it which deserve the attention of some serious student of psychology although nobody has treated it in that light. Yet I believe it is just those elements – some of them like a sad, far-off voice – that attract grown-ups, and it is just these moments which Miss Pauline Chase with all her charm does not capture. Thus, for example, when standing on the rock amid the rising seas, she exclaims “To die would be a great adventure,” she says it as a child from a copybook not as one who feels it – as Melisande would have felt it.
‘Miss [Nina] Boucicault [in the first production of Peter Pan, Duke of York’s, London, 27 December 1904] with her fine wistfulness is the true Peter, but on the first night her place was the stalls and not the stage. In all the lighter moments Miss Chase is very bright and pretty, leaving the pathos to Miss Trevelyan, a far more experienced actress, whose Wendy has lost none of its delicacy. Mr. Robb Harwood, replacing Mr. [Gerald] Du Maurier, is excellent as the Pirate Hook, and Miss [Sybil] Carlisle resumes her part of Mrs. Darling to the excellent inconsequence of Mr. A.E. Matthews as the father of the children. The mounting is just as ingenious as ever, showing an extraordinary appreciation of the child’s desire to see the inside of things.
‘The entertainment has, as I suggested last week, duly produced its own literature, for Mr. John Hassall has issued a series of six long panels illustrating Mr. Barrie’s charming story. The pictures, which are issued by Lawrence and Jellicoe at 2s. each (unframed), are beautifully reproduced in colour and form ideal decorations for a nursery.’
(J.M. Bulloch, The Sphere, London, Saturday, 28 December 1907, p.264a)

Sybil Hook

Sybil Hook (fl. 1912-1922), English actress and dancer, as the Second Twin in a United Kingdom touring production of J.M. Barrie’s Peter Pan, about 1913
(photo: Corn, Cardiff, circa 1913)

Sybil Hook appeared as the Second Twin in Peter Pan at the Duke of York’s Theatre, London, for the Christmas season of 1912/13, with Pauline Chase in the title role. She is next recorded as an extra in Seymour Hicks’s production of George Egerton’s comedy, Wild Thyme at the Comedy, London (19 April 1915), which subsequently toured England and Scotland. She reappeared in Peter Pan at the New Theatre, London (23 December 1916), when she played Tootles, with Unity More in the title role. Miss Hook played Tootles again in Peter Pan at the New at Christmas 1918/19, with Faith Celli in the title role, and again at the New at Christmas 1919/20, with Georgette Cohan as Peter. Sybil Hook’s next London engagement was as Ivy Routledge in the topical farce, Her Dancing Man (Garrick, 3 September 1920), with Jack Buchanan, Ronald Squire, Viola Tree, Auriol Lee and Empsie Bowman. Miss Hook is last mentioned as Fair Lady, Manon of Venice in Arlequin, a comedy fantasy by Maurice Magre (translated by Louis N. Parker), with music by Andre Gailhard, produced at the Empire, Leicester Square on 21 December 1922; other members of the cast included Dennis Neilson-Terry, Godfrey Tearle, Dorothy Green, Netta Westcott, Edith Kelly Gould, Rosina Philippi and Viola Tree. The piece was choreographed by Leonide Massine.

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‘MAKING A HIT
‘LONDON, Eng., Mar. 27 [1920]. – London has taken to its heart a new favorite in the person of Sybil Hook, who up to a month ago, was playing small parts in road shows. When Georgette Cohan, daughter of George M. Cohan, and Ethel Levey, now residing here, sailed for America to join her father, she [Sybil Hook] stepped into her part at the Garrick, where ”Mr. Pim Passes By” is playing and has been the pet of London ever since.’
(The New York Clipper, New York, Wednesday, 31 March 1920, p. 12c)

Phyllis Embury

Phyllis Embury (1889?-1948), English actress
(photo: Alfred Ellis & Walery, London, circa 1906)

Phyllis Embury, who is said to have been born in Leeds, Yorkshire, is first mentioned in connection with Herbert Beerbohm Tree, playing the small part of Octavia in his production of Stephen Phillips’s Nero, which was first performed at His Majesty’s Theatre, London, on 25 January 1906. She then appeared as the 2nd twin in a revival of J.M. Barrie’s Peter Pan at the Duke of York’s Theatre, London, 22 December 1906. She played the same character the following year (Duke of York’s, 16 December 1907) and other small parts followed, the last being in Vice-Versa, a farcical fantasy, at the Comedy Theatre, London, which opened for a run of 40 performances on 18 December 1911.

Miss Embury’s career came to an end upon her married in 1912 to Stanley Dodd (1876-1946), a successful obstetric physician, the son of Arthur Dodd (1838-1924), a diamond merchant trading as P.G. Dodd & Son, and grandson of Philip George Dodd (1801-1865), a well-known retail jeweller and silversmith of Leadenhall Street and Cornhill, City of London.

Marilyn Miller – ‘Peter Pan (I Love You)’

Song sheet cover for ‘Peter Pan (I Love You)’ by Robert King and Ray Henderson. Marilyn Miller (1898-1936), American actress and dancer, as she appeared in the title role of Charles Dillingham’s revival of J.M. Barrie’s Peter Pan, which was produced at the Knickerbocker Theatre, New York, on 6 November 1924.
(photo: unknown, USA, 1924; published by Shapiro, Bernstein & Co Inc, New York, 1924)