Theatrical Children

Many of the great actors and actresses of the early twentieth century began their theatrical careers as child stars, often spending much of their childhood 'on the road' with their theatrical parents. But this is not to suggest that these children were hard done by according to the standards of the time. In fact, theatrical children could be said to have led an easy life compared to the lot of many other children being raised in the latter part of the ineteenth century when it was still not unusual for children to be put to hard and sometimes dangerous labour to help to support their families.

It is true to say however, that through the latter half of the nineteenth century the revalence of child labour which had once been so widespread as to be the norm was diminishing rapidly. In Great Britain, a number of laws were enacted in that period of time which progressively restricted the hours and (often dangerous) conditions in which children could be put to work. Specific acts regulated the mines and factories which were the products of the Industrial revolution and which were the largest employers of child labour. For example, in 1872 the employment of boys under 12 or girls of any age below ground in Metalliferous mines (mainly iron, tin and copper) was prohibited whilst the employment of boys aged between 12 and 16 was limited to fifty-four hours a week and a maximum of ten hours in any one day. This same regulation was not extended to coal mines however, until 1887, at which time it was extended to ban the employment of children under 12 above ground and to further limit the working hours of children under 13.

In 1870, the Elementary Education Act was passed which for the first time required compulsory schooling for all children although even then it was not free unless good cause of hardship could be shown. Nor was it for some years strictly enforced, with the schools failing to reach many of the nations children as it took time to build up the necessary infrastructure. This act did however lay down the notion which is today taken for granted that every child deserves and should receive a suitable education, and that whereas it is the primary duty of the parents to make such provision, the state should if necessary stand ready to compel them to do so. A further act in 1891 finally made free education possible for all as the government provided compensatory grants to all schools in consideration of the abolition of fees. Finally, the Elementary Education Act of 1902 laid the foundations for the school system as we know it today, authorising public bodies not only to provide and maintain elementary schools out of rates, but to co-ordinate all education by extending the power of assistance to schools of every grade however they are provided.

Many of the stage stars of the Edwardian era experienced their childhood years in the latter part of this revolution in education and child labour laws, when it was still possible for them to be permitted to work much longer hours than would be allowed today. By and large however, they would have received a good education even though much of it may have been provided by private tutors as a travelling lifestyle prevented attendance of formal institutions much of the time. Many theatrical children began their careers as singers and/or dancers but many 'straight' plays also included child parts. 'Little Lord Fauntleroy' by E.V. Seebohm which premiered in London in February of 1888 is generally regarded to be the first play to have been written for children, and certainly the first to make extensive use of child actors.

This then is the background behind the prevalence and popularity of child stars on the Edwardian Stage. Following is an article about theatrical children reproduced from a period publication:

The Playgoer, Volume IV, Number 22. August 1903
CLEVER STAGE CHILDREN
By JOSEPH F. HEIGHTON.

A prominent feature of maoy of the plays which have been produced in London and the provinces during the past two or three years is the number of juvenile actors and actresses who have been included in the castes. Great successes, of course, cannot be claimed by all of them, for childlren, like adults, are failures behind the footlights at times, in spite of careful tuition and training. The last two or three years, however, have witnessed many notable juvenile successes, and girls can claim the greater part of these, owing, perhaps, to the fact that there is more demand for their services, and in consequence they are afforded more opportunities than boys of displaying their histrionic talent.

Probably the most remarkable and successful theatrical prodigy-if one may be allowed to call her such, who has come before the public of late years, is Miss Beatrice Terry, whose clever and talented performance in Mrs. Frances Hodson Burnett's delightful little play, A Little UnFairy Princess, produced at the Shaftesbury and Terry's Theatres, was one of the greatest 'hits' in the Christmas productions of 1902. Seeing, however, that Miss Terry is a member of the famous theatrical family of that name, and a niece of Miss Ellen Terry herself, it is, perhaps, scarcely surprising that she should excel in the art of acting even at the early age of thirteen.

It was four years ago that Miss Terry made her first appearance behind the footlights by walking on in, Robespierre at the Lyceum Theatre, in order that she might, as Miss Ellen Terry put it, "get some idea of what the stage was like." This small beginning was followed shortly afterwards by a speaking part in Olivia, in which piece Miss Terry admirably acquitted herself.

But her ambitions were always turned toward leading roles, and Miss Terry obtained her heart's desire when she was chosen in 1900 too impersonate "Sir Leonard Elverton," a leading character in Tom Gallon's little play The Man who Stole the Castle, produced at the Garrick Theatre as a curtain piece to Shock-Headed Peter. This afforded Miss Terry an opportunity of showing that she really possessed the histrionic talent for which members of the Terry family are so famous, the result being that she was engaged to play the part of "Gwendoline Tidmarsh," the enfant terrible in The Man from Blankley's, by Mr. Anstey, which ran for a time at the Prince of Wales's Theatre in 1901.

Such a part admirably suited Miss Terry, and unstinted praise was showered upon her by theatrical critics and public alike for the charming and admirable manner in which she impersonated the incorrigible child of eight years.

Miss Phyllis Dare is a charming little lady of twelve years of age who has already settled in her mind that she will some day play nice parts like Miss Eva Moore, for whom she has always had the greatest admiration. And, judging by the success which she has won during her short career of three years, it would be almost safe to prophesy that Miss Dare will assuredly win the fame and popularity which has fallen to the lot of Miss Moore.

As one of the babes in the pantomime of Babes in the Wood at the Coronet Theatre, Miss Dare made a very successful debut three years ago. Her delightful singing and dancing was undoubtedly one of the features of the pantomime, and won hearty applause from the audience night after night. After leaving the Coronet Theatre, Mr. Martin Harvey secured Miss Dare's services to play "Little Christina" in Ib and Christina at the Prince of Wales's Theatre, where she won even greater success than at the Coronet.

During the Christmas season of 1900 Miss Dare played "Red Riding Hood" in the pantomime of that name at the Theatre Royal, Manchester, after which she came back to the West End of London to take part in Mr. George Alexander's production of The Wilderness at the St. James's Theatre. It was, however, while taking the part of one of Miss Terris's sisters in Bluebell in Fairyland at the Vaudeville Theatre last year, that Miss Dare proved what a delightful little comedy actress she really was, and added another to her list of successes. Last Christmas saw her back again at the Coronet in The Forty Thieves, and she has good cause to feel proud of the welcome she received there.

Miss Marie Lohr

Although she does not enjoy quite such a big reputation as Miss Terry or Miss Dare, Miss Marie Lohr is a talented little lady of whom doubtless much will be heard in the future. Strangely enough, it was Miss Lohr who was engaged to understudy Miss Terry at the Garrick Theatre in The Man who Stole the Castle, and played the part of "Sir Leonard Elverton" for one week in a most exemplary manner. Miss Lohr, by-the-by, is a Colonial by birth; having been born in Sydney, New South Wales, thirteen years ago. "My daughter always evinced a great fondness for the stage," Mrs. Lohr informed the writer a short time ago, "and as a wee mite acted and danced at a theatre owned by her godfather, Mr. George Reynolds. For the past six years, however, most of her time has been taken up with her education, and I have only allowed her to act during the holidays."

It is a significant fact that Mrs. Kendal thought so much of Miss Lohr's ability, that she engaged her for one of her tours, the young actress making a decided 'hit' in St Martin's, Summer. As "Dorothy," the girl babe in Babes in the Wood at the Grand Theatre, Fulham, last Christmas, this clever little actress greatly enhanced her reputation, and was afforded an opportunity of showing her marked ability as a singer and dancer.

Miss Dorothy Richardson is another clever child actress who has toured with Mr. and Mrs. Kendal, having been given a part in The White Lie, which was produced about three years ago. This engagement, however, was by no means the only one which Miss Richardson has secured with prominent actors and actresses of our time. She was with Miss Janette Steer in The Queen's Double at the Garrick; with Mr. Wilson Barrett in The Silver King, and with Miss Marie Tempest in Peg Woffington from which it will be seen that this little lady, who is only twelve years of age, is recognised as being a child actress of more than average ability.

A little dot of eight years of age is Miss Mollie Moore, whose impersonation of a doll in Bluebell in Fairyland at the Vaudeville, constituted her debut behind the footlights. And what a remarkably successfull debut it was! Her song, "I always do as I am told," was delightful, and never failed to win the well merited applause. In the much advertised Fatal Wedding at the Princess's Theatre, too, she displayed ability which was wonderful for so small a child, and which reflected no little credit to her teacher, Madame Helen Townshend.

A clever musician and singer as well as actress is Miss Hanid Alexander, who played the title role in the pantomime of Red Riding Hood at the Alexander Theatre, Stoke Newington. Like Miss Mollie Moore, little Hanid made a good 'hit' in The Fatal Wedding, and her impersonation of "Red Riding Hood" was one of the most dainty and clever pieces of child acting which has been seen on the stage for a considerable time. Hanid is only nine years of age, and at the early age of four she showed signs that she possessed great musical abilities, which have since been developed under the tuition of Signor Angelo Mascheroni. Miss Alexander has made many successful concert appearances at prominent halls, and everything points to the fact that she will win more than ordinary success in the music and theatrical profession.

Unlike any of the aforementioned little ladies, Miss Cissie Beszant has won great success in melodrama. For several years she has figured very prominently in such dramas as Lights o' London, East Lynne, Tommy Atkins, The Golden Ladder, and The English Rose, which have been produced from time to time at the Surrey Pavilion and Elephant and Castle Theatres. Miss Beszant is very popular with the frequenters of these theatres, her clever childish acting naturally appealing to them.

If the theatre-going puhlic were asked to settle by vote the very difficult question as to who was the cleverest juvenile actor of thu present time, there is but little doubt that the name of Master Cyril Smith, who made such a 'hit' at the beginning of this year in Mr Edlgar Selwyn's farce, The Adoption of Archibald, and is now so successfully playing in Mr. Hubert Davies' comedly Constant Kate, would come very near, if not quite, to the top. It is about four years ago since Master Smith made his first appearance behind the footlights, at the age of seven, being chosen by Mr, Beerbohm Tree, out of fifty childlren, to play the part of "Peasblossom" in A Midsummer Night's Dream. Since then he has developed into one of the brightest and most talented of boy actors.

This development may he said to have come about in quite a natural manner, for it is an interesting fact that Master Smith has had no dramatie tuition beyond what he has received, of course, in fulfilling his various engagements. Doubtless, however, he inherited his histrionic ability from his talentet mother - Elsa Gerard - who made her last appearance on the stage at Terry's Theatre in King Kodiak. Singularly enough, it was at the latter theatre that Master Smith made two of his greatest Successes, namely as the boy "Harry," the principal role in that delightfull little production from the pen of Charles Dickens, The Holly Tree Inn, and as "Master Bellamy, the Schoolboy," in My Pretty Maid.

Altogether Master Smith was with Mr Edward Terry for about ten months, for after leaving the theatre in the Strandl he played the aforementioned parts on tour with the famous comedy actor. Amongst other plays in which Master Smith has appeared might be mentioned Gullivers Travels at the Avenue Theatre, during thc Christmas season 1901-2, in which piece he impersonated King Lilliput, and Rip Van Winkle at His Majesty's, when he took the part of one of the "Grown-up Children."

At home, Master Smith is far from being the precocious youngster one might expect to find. He is quite unspoilt by his successes, and although he has a great ambition, as he informed the writer, to become a famous man, he still retains those boyish ways and fancies which one delights to find in juveniles. Of all things he likes toys the best, and particularly dolls, of which he has a large collection. It is to the latter that he rehearses his parts, and so attached is he to the members of his mute audience, that he invariably takes one or more of them every night to the theatre where he may be playing.

From the Haymarket to the Vaudeville Theatre is not a far cry, and it was at the latter place that I found another boy-actor in the person of Master George Hersee, who, although only twelve years of age, has already climbed a good distance up the ladder of theatrical fame. Master Hersee - who, by-the-by, is a nephew of Madame Rose Hersee of Grand Opera fame, and a grandson of Henry Hersee, who was a well-known dramatic critic - began his career at nine and a half years of age by appearing in The Snow Man at the Lyceum Theatre during the Christmas season of 1899-1900, afterwards playing "Puck" in A Midsummer Night's Dream, and "Prince Charles" in A Royal Family on tour.

For the last two years, however, Master Hersee has been at the Vaudeville, playing in those phenomenally successful pieces, Sweet and Twenty, Alice in Wonderland, and last but not least, Quality Street. It was in Sweet aad Twenty that Master Hersee, in his character of "boy highwayman," committed the audacious act every night of pointing a pistol at the head of Miss Ellaline Terriss and forcing that celebrated actress to go on her knees and beg him to "spare my life and take my gold." As "Master Arthur Wellesley Tomson" in Quality Street, he is, to use an expression frequently heard from the lady members of the audience, "simply delightful," and one is quite safe in affirming that he will not fail to realise in the future his ambition to become a famous comedy actor.