Panto time!

As I have mentioned before in a previous post (see Strictly Music Hall) my grandmother, Winifred Griffiths was a professional singer. Her talent as a soprano was spotted at a young age and she toured with the Carl Rosa Opera Company.

But after a few years, she left opera behind to follow a different career path, performing in variety acts at repertory theatres all over the country, including pantomimes.

Here she is as the Fairy Queen, both panto and date unknown.










She appears in the photograph below in a production of Babes in the Wood, performed at the Hippodrome in Birkenhead in 1927. (I have another newspaper cutting of an almost identical curtain-call scene from the same year, but this time in Belfast.)

Babes in the Wood, Birkenhead Hippodrome, 1927

But I could do with your help here. The column accompanying the photograph reads, "Another gifted singer is Miss Winifred Griffiths, who makes a demure Maid Marion."  Maid Marion? Call me a traditionalist, but there looks to be way too many flashy head-dresses and posh frocks amongst the outfits for her to be dressed in a modest shift and wimple, as one might expect, so I have no idea which one is her! Any suggestions as to a likely Maid Marion?

Having recently subscribed to The British Newspaper Archive I've been on the search for mentions of Wyn (as she was generally known) in the press so I was delighted to find a review of her performance playing the squire's daughter in Little Red Riding Hood at The Hippodrome, Preston in 1931., "a decided asset to the musical side".

In a report in the entertainment industry's The Era, during the same panto season, she's described as "lovable and sweet".

I also found mention of my grandfather, Herbert Henry Coules Colley, in his guise as "theatrical artiste" under his stage name, Ken Barton. (I wonder whether she called him Bert or Ken?)

Ken's speciality was comedy and regularly played the part of the pantomime dame.

In a clipping my gran had cut out of the Dorset Echo, in 1931, his appearance in Little Red Riding Hood in Weymouth earned the comment, "...no one in the company could have been better chosen to impersonate Granny Matilda than Ken Barton, whose clever make-up deceived a good many."

But, as usual, I'm left with a mystery. According to The Sunderland Echo and Shipping Gazette, Wyn is quoted as saying that she had once been the principle soprano with another opera company in additional to Carl Rosa, alleging that she played in The Bohemian Girl with the O'Mara Company, which I understand was a well-known Irish Opera Company. (Ironically they were running an advertisement in the very paper in which I read Wyn's interview.)

Courtesy of British Newspaper Archives

Her stay at Carl Rosa was legendary in the family but I don't remember her or anyone ever mentioning the O'Mara company before. Why would that be?

Either I've just discovered something new about my grandmother's career or... it's a case of not believing everything you read in the papers!

So, as ever, there's more research to do to establish the true facts...





Finally, a big thanks to all of you who have dropped in on my blog during the year and added your comments. I look forward to welcoming you again in 2016. Until then...

Have a very  

Merry Christmas 

and

 Happy New Year. 

A poignant Christmas list

 

Merry Christmas 1948

 

  

According to the small pocket diary my mum kept in 1948, when she was 13 years old, her Christmas presents were a handbag, a film book, a pair of fur gloves, a paint box, the novel 'Little Women', six hankies and two brooches.

(Most 13 year olds these days would be baffled as to why receiving six paper tissues constituted a Christmas present!)

The paint box in the list reminds me of a story Mum told of when she entered a painting competition (perhaps using this very box of paints). Having carefully completed her work of art, she was mortified when she knocked over the water pot and it flooded the picture. One of the adults came to her rescue (she lived with her mother, grandparents and an aunt) and managed to mop up the worst, creating an interesting effect across the sky. When she won the competition, she was convinced the disastrous flood had actually improved the painting!

It was no surprise to see 'film book' on the list. Mum was an avid cinema goer. Her diary is littered with names of the films she'd been to see. Sometimes with a comment added, other times with no indication as to whether she'd enjoyed it or not. For Great Expectations, though, which she'd seen earlier that year, she's shared her thoughts. Very frightening, she'd written. Not keen. I know which bit frightened her as she told me about it years later - it was when the convict emerged from behind a gravestone in the churchyard, grabbed young Pip and demanded food, having escaped from one of the rotting hulks moored in the Thames, waiting to be transported to Australia.

Mum's father, Herbert Colley, or Kendal Barton as he was more commonly known (his stage name), was a theatre actor. He often played the part of The Dame during the panto season.

My aunt, Mum's elder sister, recalled him making a puppet theatre for the girls from a box on its side, with cut-out characters glued on to long strips of cardboard. These characters would enter 'stage right' and 'stage left' by sliding them through a gap in the box sides to play out a panto story to an invited audience.

It was something that, in turn, my mum did with my sister and I, and we would spend hours making the theatre and the players associated with whatever pantomime we'd chosen to enact. As I recall, the joy was as much in the making as the performance.


Whatever your Christmas presents contain this year, and whether or not you'll be enjoying a pantomime, either visited or created, do have a very

Happy Christmas

 

and a successful 2015 in your family history searching.


I look forward to sharing more of my stories with you in the coming year.

 

Strictly Music Hall

With everyone (well, nearly everyone) in 'Strictly' mode, it seemed appropriate to use this blog post to introduce a performer from my own ancestry.

Meet Winifred (Wyn) Griffiths, born in Wolverhampton in 1901, who began treading the boards at the age of nine when she first sung in public to an audience of 500.

By the age of 16, her talent had been recognised and she joined the Carl Rosa Opera Company - "For a girl of 16 years... she has a voice of considerable promise."

The company toured all over the country, but as 16 was considered too young an age to go alone, Wynn's elder sister, Clarrie, took a job as a secretary with the company to act as chaperon!

Playing the Doll in The Tales of Hoffmann
"Miss Winifred Griffiths made a captivating mechanical doll
and... earned the plaudits of the audience."

But opera singers were not well paid in the 1920s and 30s. A performer like Wyn could earn twice as much working in the more popular concert parties and pantomimes. 

So by 1923 when the above photograph was taken, she'd joined Jack Audley's Variety Group (second from left)...

...and in 1937 (below) she's performing in The Happy Valley, in Llandudno, with Charles Wadee's Concord Follies (Wyn's marked with a blue arrow - not by me, I hasted to add!)

When war broke out in 1939, everything changed. Wyn was working with a concert party in Whitley Bay, Northumberland at the time but decided to return to Wolverhampton. She began work in a steel tube factory, though she continued to sing periodically at charity events.

A good starting place to research your own theatrical ancestors is the excellent arthurlloyd.co.uk website, hosting thousands of images and pages of information on the history of Music Hall and Theatre. 

Also, the theatrical publication The Stage, in existence since 1880, has an online archive where you can register to make a free search, though you will have to pay to view or print any material.

Finally, The archive of theatrical scenery has a database of shows and theatres, including images of 6,000 programme fronts.

Happy searching!