Buffalo Bill Cody with some of the Red Indians of his Wild West Show. Source: Wikimedia Commons
On 17 August 1891, former hunter and US army scout turned impresario, William Cody, better known as Buffalo Bill, opened his ‘Wild West Show’ for the first of six days of performances in the Potteries. The show was making a tour of Britain and had arrived from Sheffield several days earlier in three trains comprising 76 carriages, bearing 250 performers, several hundred horses and dozens of bison. Cody and his company also brought enough scaffolding with them to build a pavilion that could seat 15,000 spectators, which was quickly constructed not far from the train station in Stoke by local workers. A Red Indian village was also built nearby for the many native American performers and their families, which became a great attraction during their stay. In the main pavilion there were two shows a day at 3pm and 6pm and though it rained on the first day the weather improved as the week went on. Sure enough, as elsewhere, thousands of local people turned up to watch the shows, one of which a reporter for the Sentinel described briefly for their readers:
‘Notwithstanding a persistent downpour, an audience assembled in numbers large enough to crowd the popular parts of the stands, and though with more favourable weather a better display might have been expected, the full programme was given and all seemed intensely delighted. The shooting feats of Miss Annie Oakley, Mr. C. L. Daley, Johnnie Baker, and General Cody [sic] himself, created a great deal of enthusiasm, whilst the antics of the bucking horses, and the agility of the cowboys, caused considerable interest, as well as amusement. The attack on the Deadwood coach was performed in a manner quite realistic, and the concluding tableau, an attack by Indians on a frontier man’s cabin, gave all present a very true idea of what a pioneer’s life was like a few years ago on the Far West. During the afternoon the Indian encampment was visited by thousands of interested spectators.
For the evening performance the ground was lit up by Wells’ patent lights. Unfortunately, the wet and boisterous weather prevented the public from gaining an accurate idea as to the capabilities, and must have rendered the performance, especially the shooting, a matter of some considerable difficulty. Nevertheless, there was a large attendance of spectators, and the programme was gone through without a hitch. General Cody was loudly cheered when he made his parting bow.’
Thirteen years later on 21 October 1904, the people of the Potteries witnessed the last ever performance by ‘Buffalo Bill’s Wild West Show’ to be held in Britain. The season had started here earlier that year on 25 April, most of the animals and some of the cowboys and stable hands having overwintered at Etruria, while the bulk of the company had gone home. Now after their last tour of the country, the show made a final return to the area prior to departing for the Continent. They signed off with two final performances held on this day at the Agricultural Show Fields at Birches Head. The evening performance attracted a crowd of 12,500 people and at the end of the show the performers were bid goodbye by the audience spontaneously singing Auld Lang Syne.
Reference: StaffordshireSentinel, 22 August 1891, p.3; 25 April 1904; 22 October 1904.
Pioneer balloonist Charles Green was quite a celebrity when he arrived in the Potteries in early October 1826. Five years earlier, Green had become famous almost overnight when he made a special ascent into the air in his coal gas filled balloon at George IV’s coronation. Since then he had become a professional balloonist, touring the country giving displays and allowing a lucky few to take a ride up with him. Now that thrill was open to the people in North Staffordshire and to one lucky passenger would fall the chance to make local history by joining Green in the first ever flight over the district.
The first ascent was to take place from Shelton late in the afternoon of Tuesday, 3 October 1826. ‘A vast concourse of persons’ had assembled according to a reporter for the Staffordshire Advertiser. A carnival atmosphere prevailed, a band had been arranged to keep the onlookers entertained and enclosures were set up for paying guests. The most exclusive of these for ‘the most respectable inhabitants’, was rather thinly populated at first, but started to fill up after 3 p.m., allaying fears that Green would not be fully compensated for his visit to the area. Another cheaper enclosure was also pretty well filled. Most of the locals, though, opted for a free view, an immense number of whom were camped out in surrounding fields, streets and yards, perched on roofs or leaning out of windows.
Charles Green in later life
The weather was cloudy but favourable despite a brief shower which dampened those waiting for the launch. Half an hour or so before the main event a small pilot balloon was released to check on the wind direction, Green then got to work preparing the large crimson and gold striped main balloon for its trip over the Potteries. There was at this point some anxiety as to who, if anyone, would accompany Green on his historic flight. Some days earlier a suitable companion had been selected, but who this was is a mystery as the man backed out shortly before the launch and it seemed very likely that Green may have to go up alone. Indeed, the celebrated balloonist had clambered into the basket or ‘car’ as it was then called and was making his final adjustments prior to lift off, when the band suddenly struck up the popular Irish melody ‘Fly not yet’ to get his attention. A last-minute replacement had been found, the Reverend Benjamin Vale, perpetual curate of Stoke-upon-Trent, had volunteered to go. A Londoner by birth, Vale was an abrasive character with a very chequered history, which would not improve during his long career in the Potteries, but whatever his other faults he did not lack for courage and after briefly justifying his decision with his anxious friends, to the applause of the onlookers, he eagerly stepped forward to join Mr Green for this first historic trip.
With the clergyman aboard, the balloon was allowed to rise into the air to a considerable height above the gathered crowd, ropes still holding it secure while it did so. Here, Mr Green released some ballast and dropped a parachute over the side attached to a basket that carried a cat, which floated safely back down to earth. After a short while suspended thus probably to give the crowd a good view of the ‘buoyant and splendid machine’, it was drawn back down to earth, two flags were handed over which were fixed at either end of the car, the ropes were released and with the band playing and crowd applauding the balloon rose gracefully into the air. To those on the ground the balloon remained in sight for about twenty minutes before vanishing into a cloud for ten minutes, then reappearing briefly in the distance as a dark-coloured ball. The rest of the journey was instead charted by Reverend Vale who subsequently wrote an account of the historic flight, which was printed in the Staffordshire Advertiser several days later.
Reverend Vale described how after being released, their balloon was blown off first to the north and east and that he continued to answer the cries from the ground for as long as he could. Once they were out of earshot, though, he instead occupied his time watching Green work the balloon, or he looked over the side. It is perhaps a measure of his crusty character that rather than expressing delight at the experience and what he saw, he instead began musing on why anyone would strive to possess what looked like so many mud heaps below them. He tried to spot the church that he hoped to obtain the curacy to, but it had already dwindled into the distance and he could see little save a sprawling mud-heap where Hanley stood and another where Lane End lay.
A mile up, after entering a thick yellow cloud that to Vale’s mind had a curious soapy feel to it, Charles Green opened the bottom of the balloon to give the gas inside room to expand and as Vale was interested in helping he allowed him to operate the valve when needed. Meanwhile, the balloon sailed over Blythe Bridge where a fresh current of air took hold and they moved towards Cellarhead, passing over Werrington windmill where they heard voices shouting up to them, but they were up too high to make out any figures on the ground.
Charles Green’s balloon
Whilst over Consul Woods they heard the sound of several guns being fired and got a good view of the country they were now passing over. The balloon was descending a little too rapidly for Mr Green’s liking, so ballast was dropped to slow the descent. Vale peered down once more, trying to make sense of the landscape below. Straight lines he realised were roads, while an odd mushroom was a haystack and what looked like a solitary bush was in fact a small wood. There were more cries from below and a curious humming noise could also be heard as a rain shower lashed the balloon above them. They crossed the Churnet and the canal near to Belmont House, spotting the reflection of the balloon in the water.
Another wood loomed and more ballast fell and the balloon rose up into a fresh contrary zephyr that sent it south between Ipstones and Kingsley. Here the two aeronauts heard a voice crying “Come down, come down.” Far below, a woman watching the balloon had called up and thought she heard the men calling back, “Yes, yes, mistress.” and she brought out some brandy ready to greet them and celebrate, but to her disappointment, the balloon passed on by.
After forty minutes in the air they were two miles up and getting cold and Mr Green decided to tie off the end of the balloon before attempting a landing. To achieve this he boldly stood up on the edge of the car, but even at full stretch he could not reach the fabric until Reverend Vale pulling down on a rope with all his might, dragged it to within Green’s grasp. As Green tied it off they distinctly heard the sound of a horn being blown followed by the clatter of carriage wheels, which indicated that a coach was rattling its way over the hills below them.
Mr Green was now on the lookout for a safe landing spot, which became more urgent as bad weather closed in. However, nothing but fields and dry stone walls appeared before them and as they slung the grapple over the side, the two men steeled themselves for the worst that might happen. Spotting a couple of men below they yelled for assistance, but flew overhead much too quickly and it was not until their anchor had snagged and demolished parts of two walls that more locals rushed over and grabbed hold of the balloon and they finally came safely to a stop in the middle of a field. Vale estimated that they had been in the air for about an hour and had travelled over at least 25 miles.
A couple of days later, after an early attempt had to be aborted due to high winds that made flying much too risky, Mr Green took a similar balloon trip over Newcastle, accompanied this time by a member of the Wedgwood family.
Reference: Staffordshire Advertiser 7 October 1826, p.4; J. H. Y. Briggs, ‘A Staffordshire Clergyman: The Reverend Dr Benjamin Vale, L.L.D. (1787-1863)’ in Staffordshire Studies (Keele, 1987) pp. 141-153.
Probably at some point in early to mid July 1934, Burslem hosted the world premier of the first film of an up-and-coming star, when, according to report, the Palladium Cinema in in Waterloo Road showed a new British comedy entitled Boots! Boots! The star of the production was George Formby Jr, the son of a notable music hall performer, who would go on to be one of the biggest home grown film stars of the early 20th century. In his most famous films, Formby was invariably cast as a gormless but cheeky character with an infectious grin and an astonishing skill with a ukulele, on which he played numerous very catchy tunes; his films still come over surprisingly well today. This early film, though, was a far cry from those later glossy productions. Apparently filmed over a fortnight on a shoestring budget in a room above a garage, the film has the feel of a review, with very little plot. George plays John Willie (a character invented by his father) a hotel boots who indulges in a number of comic encounters with the hotel manager, the chef, some of the hotel guests and a scullery maid (played by Formby’s formidable wife Beryl). Discovering John Willie’s prowess with the ukulele and the maid’s dancing skills, the manager puts them in the hotel’s cabaret.
George Formby later described Boots! Boots! as ‘a lousy film’, and certainly it seems very cheap and cheerful today, but on it’s opening it proved to be a great hit across the country and effectively launched Formby’s cinema career. By his own account he himself saw what a draw the film was when he secretly came to the Potteries to see the film open and was astonished to find that it was playing to packed houses. A Sentinel reviewer described it as ‘a distinctly happy piece of entertainment. There are plenty of laughs, an abundance of good tunes and the settings are up to standard for a film of this type.’
The reason why the exact date of the premier is unknown seems to be because the Palladium Theatre often went through periods when it did not advertise in the Sentinel, 1934 being one of these times and as a result the date is lost. The film was subsequently shown at the Roxy in Hanley for three days from 19 July and at the Regal, Newcastle on Bank Holiday, Monday, 6 August 1934, having gone on general release on 30 July.
Reference: Staffordshire Sentinel 7 August 1934, p.3; correspondence of Jonathan Baddeley and David Rayner in The Way We Were supplement to the Sentinel, partially reprinted in The North-West George Formby Newsletter 36, Vol. 3, No. 12, June 1998, p.4.
Alfred John Austin had been born in Hanley on 22 September 1899, the eldest child of George and Emily Austin, he had a younger sister named Ann. In 1911 the family emigrated to Canada, settling in Winnipeg, Manitoba, where the father George initially worked on the railway and later as a caretaker. Their settled life, though, was interrupted by World War One. It seems that young Alfred was keen to go to war as on 16 August 1915, he attested for the Canadian Army, claiming he was 19, though he was actually a month shy of his 16th birthday. Two days later his father George also attested for the army, though the two were posted to different units, Alfred joining the 79th Cameron Highlanders of Canada with whom he went to serve in France. In 1916, his father George Austin was killed in action, while Alfred for his part is said to have been wounded in the Third Battle of Ypres and his papers indicate that in 1917 he also suffered from shell shock. It was also in 1917, whilst probably visiting friends and relatives in the Potteries, that Alfred married his first wife Doris Roberts at St George’s Church, Newcastle-under-Lyme on 23 December. He returned to France, eventually rising to the rank of Company Sergeant Major, but got through his remaining service unscathed.
Hanley Stafford c.1945. Source: CBS Radio, Public Domain Source: Wikimedia Commons
Returning home to Canada with his new wife in 1919, he settled back in Winnipeg where he and Doris had a son, Graham, born in 1920. He had started acting with the Winnipeg Permanent Players on his return and through them, he got a job with a summer stock company that toured western Canada, but when the company folded he had to make a living in other ways, taking jobs working in wheat fields, hauling freight and working as an office stenographer. In search of more acting work, in 1922 he took his family to live in the USA, settling in California. Five years later on his application for US citizenship, to give himself a memorable stage name and in a nod to his place of birth, he stated that he wished to be known henceforth (in the States, at least) as Hanley Stafford. He then played in summer stock productions for eight years and then in tent shows. He was appearing in radio plays in Los Angeles by April 1932 and briefly went to Phoenix to manage a stock theatre company, but returned to Los Angeles in August to resume his stage and radio work. His career was going well, but at the expense of his marriage it seems and in 1934, he and Doris were divorced. The next year he married his second wife Bernice Bohnett.
After starring in the New York radio detective series Thatcher Colt from September 1936 to March 1937, Stafford again returned to Los Angeles and there took on a number of radio roles, providing voices for amongst others Speed Gibson and The Shadow of Fu Manchu. In December 1937, he also landed the role of Lancelot ‘Daddy’ Higgins, the oft-harassed father of mischievous Baby Snooks, a young girl played convincingly by a grown actress, Fanny Brice, originally in a series of sketches on The Good News Show and later on The Baby Snooks Show. It was the role that made his name and alongside his other work Stafford continued playing the part until the final broadcast on 22 May 1951, two days before the sudden death of star Fanny Brice. In 1939, Stafford also took on another notable role as J. C. Dithers, the boss of Dagwood Bumstead, in the popular radio comedy Blondie, again a part he would play for many years. That year, his second marriage failed and in 1940 he married Veola Vonn, who played Dimples Wilson in Blondie. They would stay married until Stafford’s death.
Between 1950 and 1963, Stafford also appeared as a guest star or in bit parts on various television series, these included The Popsicle Parade of Stars and Hollywood Premiere Theatre, episodes of Cheyenne, Maverick, Shirley Temple’s Storybook, Sugarfoot, and 77 Sunset Strip, The Brothers, The Betty Hutton Show, Angel, The Millionaire. and The Lucy Show. He also appeared in minor roles in several light-weight films such as Lullaby of Broadway starring Doris Day, A Girl in Every Port, Just This Once, Tell it to the Marines, Francis Covers the Big Town and The Affairs of Dobie Gillis. These, though seem simply to have been strings to his bow, radio being his preferred medium. In 1960 for his radio work, Hanley Stafford was awarded a star on the Hollywood Walk of Fame. This was unveiled on 2 August 1960 at 1640 Vine Street, Hollywood, California; the venue was fitting as in Stafford’s heyday, the area around the intersection of Sunset Boulevard and Vine Street was known as ‘Radio Row’ housing the four large radio stations in the city where he had worked for the past two decades.
Hanley Stafford, born Alfred John Austin, died at home from a heart attack on 9 September 1968, in Los Angeles, California, USA, aged 68. He was cremated and his ashes placed alongside those of his mother in the Columbarium of Heavenly Peace, Forest Lawn Memorial Park, Glendale, Los Angeles.
Reference: Wikipedia entry for Hanley Stafford; IMDb entry for Hanley Stafford; Find-a-Grave entry for Hanley Stafford.
Gertrude Astbury, known as Gertie Gitana, captured in a charming early publicity photograph.
Of all the famous names who have hailed from the Potteries, few in their lifetime gave more honest, unalloyed pleasure than Gertrude Astbury, who as ‘Gertie Gitana’ became a darling of the music halls prior to World War One. Her talent and staying power were considerable. In her prime, her name on the bill was enough to ensure a full house, and even in the twilight years of her career, she was still able to command a large audience.
Gertrude Mary Astbury, the eldest child of pottery turner William Astbury and Lavinia nee Kilkenny, a teacher at St Peter’s R. C. School in Cobridge, was born on 28 December 1887 at 7 Shirley Street, Longport, but the family lived at various addresses after that. When in 1954 the City Council decided to rename Frederick Street, behind the Theatre Royal in Hanley, as Gitana Street in her honour, Gertie wrote a letter to The Sentinel saying that she was very proud of the honour noting that ‘Gitana-street is adjacent to the theatre stage is appropriate.’ She then added, ‘I don’t think anyone knows of it, but it may be of some slight interest to mention that I actually lived in Frederick-street; my mother had a small shop there. I was three years old when we moved there and we were there for two or three years.’ There is no official evidence to support this story, but at the time of the 1891 census, Gertie was certainly living with her grandparents in Bucknall New Road, Hanley, while her parents and brother James lived in Burslem. Perhaps the family moved to Fredrick Street after the census was taken?
From a very early age, Gertie proved to be something of a musical prodigy. Apparently as a toddler she delighted in putting on performances for her dolls and by the age of four she had been enrolled into Thomas Tomkinson’s Gypsy Children as a male impersonator, singer and comedienne and was soon earning star billing as ‘Little Gitana’ (the Spanish word for a female gypsy). The tale told of her discovery is that she was seen dancing in the street (arguably in Frederick Street, Hanley) by two girls attached to the troupe who befriended her. She then went along to one of the rehearsals and began copying the moves. Thomas Tomkinson noticed her and recognising her ability, applied to her parents to let her join the troupe. Once in the line-up and out touring with the show first around the Potteries, then through Wales, Gertie honed her skills and there was no doubting her burgeoning talent and her performances were regularly singled out for praise in press reports. In 1896, her career was given a helping hand by two music hall veterans, James and Mabel Wignall, known professionally as Jim and Belle O’Connor, who took her away from the Gypsy Children and under their wing. Though the O’Connors were apparently somewhat protective of their young charge, it was not in any sinister way and Gertie always referred to them affectionately as ‘Uncle and Auntie.’ It was thanks to them that at only eight years of age, Gertie made her music hall debut at the Tivoli in Barrow-in-Furnace, where she sang the song, ‘Dolly at Home.’ Two years later at the age of ten, she had a major billing at The Argyle in Birkenhead, and her first London appearance came in 1900.
By the age of 15, Gertie was earning over £100 per week, much more than her father earned in a year. At the age of 17, she topped the bill for the first time at The Ardwick Empire at Manchester. From late 1903 onwards, though often still appearing as Little Gitana, she was also being referred to increasingly as Gertie Gitana, the stage name she would adopt for the rest of her career. As she grew into womanhood, though, her skills and repertoire expanded and as well as singing she entertained by tap dancing, yodelling, and playing the saxophone, a relatively new instrument developed in the States and which at that time was something of a novelty in Britain. Her music hall repertoire of songs over her career included ‘All in a Row’, ‘A Schoolgirl’s Holiday’, ‘We’ve been chums for fifty years’, ‘When the Harvest Moon is Shining’, ‘Silver Bell’, ‘Queen of the Cannibal Isles’, ‘You do Look Well in Your Old Dutch Bonnet’, ‘Never Mind’, ‘When I see the Lovelight Gleaming’, and most famously ‘Nellie Dean’ which she first sang in 1907. It was a song her younger brother James had heard in the United States and was an instant success for Gertie, becoming her signature tune. Her first gramophone recordings, dating from 1911–1913 (some of which can be heard online), were made in London on the Jumbo label.
Vintage portrait of Gertie Gitana, the famous music hall performer, holding a saxophone.
During the Great War, like many music hall performers Gertie turned her talents to entertaining the war wounded in hospitals or raising funds for the injured and she gained a following with the men in the trenches as a forces sweetheart. After the war, she appeared in pantomime, most notably as the principal boy in Puss in Boots, or as Little Red Riding Hood, and Cinderella. One amusing incongruous tale from this period is that she was reputed to have said the line in Cinderella, ‘Here I sit, all alone, I think I’ll play my saxophone’, before removing the instrument from the stage chimney and bashing out a tune*. Two musical shows were specially written for her: Nellie Dean and Dear Louise, and in 1928, despite initial opposition from the O’Connors, Gertie married her leading man in the latter, dancer Don Ross. Don was as ambitious and driven as his wife and would later prove to be quite the impresario, bringing over one of the first Vaudeville strip-tease artists after a visit to the States, running a three-ring circus and organising variety shows; he later became King Rat of the Grand Order of Water Rats and founder and first president of the British Music Hall Society.
The autobiography of Gertie’s friend and fellow performer Ted Ray
After the shows had run their course, Gertie returned to the variety scene, working for some time in partnership with blackface performer G. H. Elliott and an up-and-coming comedian Ted Ray, who liked her immensely. In his autobiography, Ray described both Elliott and Gertie as charming and courteous professionals, who never let their acts devolve into smut and no matter what their moods or what else was going on in their lives, never let an audience down or turned in a sub-par performance.
However, determined to retire at 50, by her own design Gertie’s career was now winding down. Made rich by her tireless work over the years (“No gutters for Gertie.” she sometimes commented wryly on her wealth) she was able to retire in 1938, but the old trouper could not be kept down and ten years later she made a short but very successful comeback with other old music hall stars in the show Thanks for the Memory produced by her husband. The show was the centrepiece of the Royal Command Performance in 1948. Her final appearance was on 2 December 1950 at the Empress Theatre, Brixton. She retired completely after that and spent her remaining years quietly, though she increased her fortune by speculating successfully on the stock market. On her death she left just over £23,584 in her will, equivalent to £484,727.62 in 2024.
Gertrude Ross, nee Astbury, alias Gertie Gitana, died of cancer on 5 January 1957 in Hampstead, London, aged 69, and was buried in Wigston Cemetery, Wigston Magna, Leicestershire, where her husband had been born. Some lines from her most famous song, ‘Nellie Dean’ are engraved on the gravestone.
By all reports, Gertie, though no pushover after years toughing it in showbiz, was an incredibly good natured and generous woman, well-liked not only by her legion of fans, but also by her fellow performers who felt her loss. After her death her friend, comedian Ted Ray, wrote ‘She was the most gentle, loveable person I ever met… A perfect artiste in every sense of the word. I place her among the immortals.’ In his book My Old Man, former Prime Minister John Major, recalled how years later his father (who trod the boards as part of the act ‘Drum and Major’) expressed similar sentiments about Gertie. Her death made the TV and radio news of the time, papers including the Sentinel, carried glowing obituaries to the star and memorials were mooted, though the only one of note at the time was a memorial bench that was unveiled in Edinburgh. In the Potteries memorials to Gertie Gitana have for the most part been fleeting. The Gertie Gitana pub (later The Stage Door) has come and gone, likewise Gitana’s pub in Hartshill and today few save die-hard local historians or music hall enthusiasts remember her. But her name lives on in Gitana Street, an honour that never ceased to delight and surprise her. As her husband Don Ross recalled, on the day she died Gertie was fading away, but talking with him about this and that when unbidden she suddenly brightened up and said, ‘Fancy them naming that street in Hanley after me.’
Modern day Gitana Street, Hanley. Source, Google Earth.
*Comedian Roy Hudd in his foreword to Ann Oughton’s biography of Gertie Gitana, recalled asking Don Ross in later years if Gertie really had used the amusing ‘… I think I’ll play my saxophone’ line in Cinderella, but Don neither confirmed nor denied it.
Reference: Ann Oughton, Thanks for the Memory, passim;Ted Ray, Raising the Laughs, pp. 86-87; Evening Sentinel 15 February 1954 .
Born in Pitts Hill, Tunstall in 1878, Elizabeth Longsdale came from a musical family, her father William was a potter, but served as the choir master at Christ Church, Tunstall, and several other family members such as her brother Wilson, would make their names locally as singers. It was Elizabeth, though, who under the alliterative stage name of Lily Lonsdale, would become the most famous, carving a notable career in the music halls of Britain and abroad.
Elizabeth started her singing career as a soloist at local concerts and enjoyed a spell with the North Stafford Amateur Operatic Society before turning professional when she joined Thomas Tomkinson’s Gypsy Children. This was a local choir turned concert party that was composed of talented children and adolescents that had gained quite a following in the Potteries. The troupe served as a training ground for several local performers who later went onto greater things, most notably Gertrude Mary Astbury who as Gertie Gitana would become one of the best know stars of the music halls. Elizabeth (now billed as ‘Lily Lonsdale’) shone just as brightly, impressing audiences with her beautiful, well-modulated voice and garnering great praise. By 1897, the troupe had moved beyond the Potteries and began touring the Midlands and Wales, performing in various venues like theatres and town halls, supported by parents and helpers who assisted with logistics and costumes.
Ernie Myers
By mid 1899, Lily now in her early 20s was getting too old for child roles, and she was also romantically involved with Ernie Myers, a comedian from the troupe. However, her initial attempts for a career shift suffered a setback. After leaving the Royal Gipsy Children, she joined a rival troupe, Leon Vint’s Globe Choir, but soon had to resign due to vocal strain. This set her at odds with Vint, who after first agreeing to let her go then changed tack and took Lily and her sister Agnes to court for breech of contract. However, once in court, the judge deemed that Vint had acted unfairly and that the contract was far too heavily-weighted in his favour and as a result he ruled in Lily and her sister’s favour and they went on their way unhindered, leaving Vint with the costs for his bully-boy behaviour. Lily made a brief return to the ranks of the Royal Gypsy Children, but following the unexpected death in late January 1900 of Thomas Tomkinson the troupe’s founder, she and Ernie decided to set out on their own, securing an agent and booking early performances on the music hall circuit; they married in Liverpool in April 1901 whilst on tour. Shortly afterwards they were put on the so-called Moss and Thornton tour, taking in a series of theatres and musical halls across Ireland, northern England and Scotland.
In 1901, Lily took a short break to have their son, Jacob William, but hard economics often meant that family life came second to their performing careers. Leaving their son with Lily’s mother, they resumed a busy schedule of public performances across Britain, building their careers. They used their stage names and normally performed separately, with Ernie as a popular ‘patter’ comedian telling amusing stories and Lily as a classical soprano singer, though occasionally she took on comedy roles in sketches opposite her husband. They shared the stage with various entertainers, including conjurors, ventriloquists, impressionists, acrobats, marksmen, puppeteers, clowns, jugglers, dancers and performing animals as well as other comedians and singers. An undoubted highlight of their careers was performing on the same bill as the famous American escapologist Harry Houdini in 1905, when he was on a tour of Britain.
The demands of travel and performing were tough; they worked six nights a week, with Lily often singing multiple songs per show, and she and Ernie were constantly in search of fresh material. During winters, they performed in pantomimes together, with Ernie playing the villain in “Aladdin” and Lily as the princess.
By 1911, their careers were going well and the couple lived comfortably in Derby with their daughter Lillian May and son Jack who were cared for by Lily’s mother. In August of that year, they were invited to perform in South Africa but returned by December. Their routine continued until 1914 when they travelled back to South Africa. Sadly, Ernie fell ill and died on the ship before reaching port, leaving Lily heartbroken and reliant on support from the theatre community in Cape Town. After Ernie’s funeral she stayed on to complete her contract, then she returned to Britain to support her family amid the challenges of the Great War.
Despite wartime difficulties, Lily found work in successful and topical revues like Mind Your Own Business and My Son Sammy, and whilst on tour the theatre company would often lay on special performances for wounded soldiers in hospitals, which proved very popular. Her career flourished through the war and after, but away from the limelight her mother’s declining health was a worry. In May 1920, Lily suffered a nervous breakdown due to exhaustion and stress, and shortly afterwards her mother passed away, leading to another break from performances.
Lily pictured in her obituary
Over the next five years, Lily remained active but by her late 40s, probably as a result of her arduous lifestyle, her health began to suffer. Her career ended suddenly in August 1928 when she collapsed on stage in Wolverhampton. Although she finished her performance, she was taken to the hospital and she never really recovered. Lily died on 2 March 1929, aged 49, at the Derbyshire Royal Infirmary. There were short obituaries to the singer in the Sentinel and in a couple of Derby papers over the next couple of days, but that was the limit of the press coverage. She was buried at Derby’s Nottingham Road Cemetery four days later.
