Cirrus@Austlit

HISTORICAL NOTES AND CORRECTIONS:

1. It appears that changes to the traditional Stiffy and Mo programme (first-part vaudeville/second-part revusical) were put in place by Nat Phillips around mid-to-late 1927. While advertising and reviews from the troupe's final years provide much less information than was the case prior to 1925, several brief reports published in the Age during late 1927 indicate that shows comprised four to five revue-style sketches interspersed with vaudeville acts, and a feature revusical. The opening programme at the Bijou Theatre (Melbourne) in 1927, for example, included the sketches 'A Dream,' 'Nobody,' 'Becky,' 'Cairo,' and 'Make Him Grow,' along with the 'short comedy revuette, The Lords' (Age 31 October 1927, p.12), while the week of 5-11 November comprised The Bell Boys (aka At the Grand) and the sketches 'A Kiss,' 'Stage Door,' and 'The Peace Makers' (7 November 1927, p.14).

• It is possible that a number of these sketches were created by writers other than Nat Phillips, notably Vic Roberts.

2. Historians have long claimed that Phillips and Rene ended their partnership in New Zealand. While it is correct that the decision was made in that country, there are several pieces of evidence which make it unclear as to what actually happened during the later weeks of the tour. In his memoirs, Rene recalls that he initially resisted the decision to breakup, saying that the idea had been proposed by Phillips. He then states that it was only after they had spent some talking it over that he eventually agreed (p.103). Advertisements placed in the N.Z. Truth advertisements certainly indicate that the company had become known as Nat Phillips' Whirligigs from the second week of the company's Auckland season (8 October -), although still continuing to "feature the Stiffy and Mo series of revues."

No evidence has yet been found which proves that the final weeks of that season were played without Rene, and indeed it would seem unlikely that they actually split up in Auckland because after returning to Australia the pair featured in a season of pantomime at Newcastle in November (Robinson Crusoe). This was followed by a final week of Stiffy and Mo shows in Sydney. The supposed break-up in New Zealand is also improbable given that, as Sadie Gale records, there was no friction between the two men. Furthermore, it would have been extremely unprofessional of Rene, and deemed unacceptable by the Fullers, if he had pulled out of the Auckland engagement for no good reason. The decision to rename the company is, however, a matter for some conjecture and further research.

MANUSCRIPTS AND ARCHIVAL COLLECTIONS:

1. Nat Phillips Collection: Fryer Library, The University of Queensland. A Finding Aid to the collection is available online.

2. The Fryer Library also provides an online display devoted to Nat Phillips: '"What Oh Tonight'": Stiffy and Mo and the Nat Phillips Collection'.

STIFFY AND MO REVUE COMPANY PERSONNEL:

All dates shown below are established years only. In some instances, people may have been associated with the troupe prior to or after the dates shown but these years have not yet been identified.

1. The significant role the ensemble cast played in helping make the Stiffy and Mo revusicals so successful has long been overlooked by historians, as has Nat Phillips's contribution, in deference to the promotion of Roy Rene as the dominant factor. A closer examination of the company and its critical and public reception indicates, however, that while both Rene and Phillips were certainly the feature attractions, the troupe's success was down to a combination of other factors, not the least being the ability of the supporting actors, including the chorus/ballet, to respond to the requirements placed on them. Indeed, newspaper and magazine reviews rarely failed to mention the ensemble, and often highlighted several members of the troupe, giving them as much space as Phillips and Rene. A 1927 review published in the Age exemplifies this type of coverage: 'Much of the credit for the success of the present revue must be given to dainty Sadie Gale and that popular artist, Amy Rochelle, whose singing is so largely appreciated' (12 December 1927, p.14).

2. It is clear that in forming his Tabloid Musical Comedy Company, Nat Phillips drew on his experience as a writer and director of farces, and, in this respect, he constructed his early shows as ensemble pieces. Many of the revusicals written between 1916 and 1918 were also revived frequently over the troupe's eleven or so years together, with the fundamental format retained. That these were seen as ensemble productions is also reflected in the responses of the critics. The Theatre Magazine's August 1916 review of A Sporting Chance, for example, sees Roy Rene receive only five lines (which, although positive in terms of his 'posturing', nevertheless suggests that singing wasn't his forte). Several other members of the troupe receive considerably more attention from the critic, however, with much of it favourable: Peter Brooks (ten lines), Daisy Merritt (five lines), Ivy Davis (nine very flattering lines), the chorus girls (nine lines), Mann and Franks (eleven lines), and Nat Phillips (twenty lines of glowing tribute to his efforts as both producer and performer) (pp.52-3). Thus, while contemporary logic proposes that Stiffy and Mo must have captivated the public and critical attention right from the start, this does not appear to have entirely be the case.

3. Reviews from this era indicate, too, that Daisy Merritt's role in the proceedings was vital to their overall success, particularly in the repartee between herself and Phillips. The intuitive timing between the pair (the result of more than a decade working together overseas and in Australia) provided Merritt with an ideal vehicle through which she could establish her credentials as one of the most accomplished, and certainly one of the funniest, variety artists of the era. Typically, as the Theatre records of one particular scene in A Sporting Chance, Merritt's characters scored just as much laughter as her husband's (August 1916, p.53). Another key member of the initial company was Maisie Pollard, whose career stretched back to early childhood. Her experience provided the troupe with a high level of professionalism, while her 'principal girl' looks and demeanour provided an appealing female love interest for Peter Brooks's juvenile characters.

4. Sometimes, the company brought guest performers to fill out roles, and in these situations Phillips could draw on any performers available from the first part vaudeville programme. This occurred, for example, with A Sporting Chance, when popular sketch artists Courtney Ford and Ivy Davis were brought in to play additional roles. Nellie Kolle made a guest appearance with the company during its 1917 Melbourne season, while seasoned character comedian Charles Zoli briefly joined the troupe in 1928.

5. The core membership of the first Stiffy and Mo line-up was particularly strong, comprising well-established and experienced variety performers. In this respect, Phillips was aware of the same need to surround himself with quality performers that Bert Le Blanc admits made his career so successful ('A Chat with Bert Le Blanc'). With the nucleus of the original troupe remaining remarkably stable during the first two years, the company quickly built a reputation for adapting quickly to improvisation, an aspect of performance that both Rene and Phillips excelled in. Young actor/singer Peter Brooks, described by the Theatre Magazine as having a 'particularly good stage appearance' (August 1916, pp.52-53), provided the cast with a suitably heroic character, while ex-J. C. Williamson's singer/actor Walter Whyte and Horace Mann were cast as fathers/older husbands, and invariably the targets of Rene and Phillips's larrikinism.

6. Key troupe members were Peter Brooks (1916-24, 1928 ), Keith Connelly (1922-1925), Mike Connors (1922-1925), Eva Courtney (1917), Vince Courtney (1917-1918), Alec Davidson (1927), Doris (Dot) Davis [aka Mrs Roy Rene 1] (1917-1925), Dan M. Dunbar (1917-1925, 1927-1928), Caddie Franks (1916-1920), Sadie Gale (1927-1928), Chester Harris (1919-1920), Walter Jackson [aka Walter Whyte] (1916-1918, 1921 ), Alec Kellaway (1927), Jack Kellaway (1927-1928), Al Mack (1928), Horace Mann (1916-1920), Daisy Merritt (1916-1925, 1927-28), Ida Merton (1922), Marie Nyman (1927), Doc O'Brien (1922), Cliff O'Keefe (1917-1918), Queenie Paul (1922-1925), Belle Pollard (1917-18, 1921), Maisie Pollard (1916-1917), Amy Rochelle (1919-20, 1927-1928), Harry Ross (1927), Gladys Shaw (1922-1925), Dan Weldon (1927-1928).

7. Short term performers and/or guest artists included Gerald Cashman (1921), Tom Collins (1928), Hal Cooper (1927), Ivy Davis (1916), Jack Dennis (1919), Courtney Ford (1916), Lou Harris (1920), Lola Hunt (1921), Nellie Kolle (1917), Will Liddle (1920), David Lyle (1925), Dorothy Manning (1927), Polly Power (1927), Harry Sadler (1916), Cec. Scott (1928), Hilda Statler (1928), Statler Sisters (1927), Catherine (Kitty) Stewart (1928), Charles Zoli (1928).

8. Chorus members associated with the troupe included Rene Albert (1925), Bess Blackwell (1916), Rosie Bowie (choreographer - 1916-22), Gwen Brandon (1917, 1919-22), Linea Burns (1916), Thelma Duff (1922), Beatty Glow (1916), Freda Helston (1922), Iris Foye (1916), Sylvia Gardiner (1928), Linda Klume (1917), Marie McLaughlin (1922), Little June Mills (1928), Dot O'Dea (1916-17, 1921), Olga Pietriche (1917), Rene Redfern (1917), Terry Sisters (1928), Olive Thompson (1917), Phyllis Whisken (1917), Flo Wilson (1922).

9. The musicians and ensembles known to have supported the Stiffy and Mo ensemble were:

• W. Hamilton Webber (1919), music director.
• Charles Ryder (1922), music director.
• The Charleston Symphonists [aka Charleston Super Six Symphonists] (1927-28), incl. Frank Wilson, 'Tiny' Douglas, Art Dewar, Frank Morton, Les Clements (music director).
• Meredith's Jazz Band (1928).

10. Additional notes and/or historical clarification:

• Bess Blackwell's Christian name has also been billed as 'Belle.'
• Dot Davis is believed to have started with the troupe in 1917 as a chorus member.
• Freda Helston's surname is sometimes spelled 'Hellston.'
• Horace Mann and Caddie Franks were already regarded as two of Australia's premiere comedy sketch artists when they joined the troupe in 1916.
• David Lyle's surname is sometimes spelled 'Lylle.'
• Doc O'Brien: It is unclear whether he is Lorne O'Brien (also associated with the Mademoiselle Mimi Diggers) , W. O'Brien, or someone else entirely.
• Radio Six: The ballet/chorus was originally known as The Panama Six (ca. 1916) but soon afterwards became The Radio Six (aka The Six Radio Girls, The Radio Girls, and The Radio Ballet). A reference to The Dandy Six in 1925 is believed to have been a newspaper error.
• Walter Whyte appeared on the vaudeville stage under the name Walter Jackson, and under this name was associated for a number of years with Maisie Pollard (as Pollard and Jackson).