Carrie Moore

(The Mercury [Hobart, Tasmania] - 16th June, 1913)
MISS CARRIE MOORE - HER INTERESTING CAREER
AN INTERVIEW

Tonight at the Theatre Royal in "Oh, Jemima," a musical farce-comedy, Hobart theatregoers will have the privilege of seeing the most noted of stage stars to appear in Tasmania for some time in the person of Miss Carrie Moore, a star comedienne and prima donna, who has achieved a London and an Australian reputation. Mr. J. C. Williamson, on one occasion, in presenting her with an autographed portrait of himself, referred to her as "the Australian Nellie Farren."

With the object of affording readers of "The Mercury" an outline of this noted actress' career, an interview with her has been obtained since her arrival. Miss Moore, who is accompanied by her husband (Mr. Bigwood), is an attractive, bright, winsome lady, full of animation, appearing to interest herself in everything, and unaffectedly displaying all the graces that may be expected to be observed in a queen of comic opera and musical comedy. Born at Geelong (Victoria) she has had a remarkably brilliant career on the stage from almost the outset, her versatility and talent both as an actress and soprano vocalist having made her name one to conjure with by theatrical managers in the two hemispheres. She stated, in reply to questions:

"I had long wanted to visit Tasmania, having heard so much of the natural beauties of this State, but I have never before found time to do it. Now I have come, I mean to see all I can of it in the time at my disposal. We are going to motor round the city at once. I passed through here some time ago on my way to New Zealand, and called at 'Tattersall's,' when I purchased my first sweep ticket, and it proved a lucky one, as I won a prize. Where did I first appear on the stage? With an amateur company at Geelong. I was the midshipmite in 'H.M.S. Pinafore.' Soon aftewards I was taken on by Mr. J. C. Williamson, and played Yum Yum in 'The Mikado,' Tessa in 'The Gondoliers,' and Maid Marian in 'Robin Hood.'"

"Since then I have appeared in comic opera, musical comedy, pantomimes in London and some of the principal cities of England. I went to London under an engagement to Mr. George Edwardes, and first played the leading role in the musical comedy, 'The Cingalee': next, with Letty Lind, in 'The Girl from Kay's,' and introduced the famous song, 'Hiawatha' in London. I worked for nine year in London, principally at the Lyric and Apollo Theatres. I created the leading part in 'The Dairymaids' when the song which was such a vogue, 'The Sandow Girls,' which was written for me, was introduced. I appeared, among other pieces, in 'Blue Moon' at the Lyric, and the opera, 'Tom Jones' at the Queen's Theatre, with a fine cast which included Hayden Coffin, Ruth Vincent, and Ambrose Manning. In the pantomime of 'Cinderella' at Birmigham I played with the noted stage beauty, Phylis Dare, she playing Cinderella and I the Prince. I have always appeared as the principal boy in pantomime."

"To narrate all the parts I have appeared in would involve the preparing of a considerable list. I may say that subsequently Mr J C Wilhamson asked me if I would like to return to Auslralia, and I came under an engagement and created Sonia in 'The Merry Widow.' After a six months engagement with Mr Williamson I returned to London to play the principal boy part in pantomime at the Adelphi and next played the leading role in 'The Persian Pnnccss' with great success at Daly's, and went on tour with George Edwardes company to Manchester, Liverpool, and other big cities at Home, playing the part of Mary Gibbs in 'Our Miss Gibbs' which was a great draw everywhere. Twelve months ago I came out on a holiday to Australia and to see my people, when Mr Fuller offered me Ł100 a week for fifteen weeks to sing not more than three songs a night at his variety entertainments which offer I accented. After that I formed a musical comedy company of my own, with whom I toured New Zealand, and I am shortly going to fulfil an engagement to tour South Afnca and America, but I may take my company to India first."

"Have I played before Royalty? Oh, yes, repeatedly. King Edward came twice to see us playing 'The Cingalee' at Daly's, and immecliately afterwards, on different nights, pretty well the whole of the Royal family came, including the present King George. I received a complimentary message upon my acting from King Edward shortly before I came out this time."

"I was starring at the Liverpool Music hall, when Lord Derby wrote me a nice letter, inviting me to come across to the Town-hall, after my turn, to give a couple of songs for a charity he was interested in, which I did, and he presented me with the beautiful gold chain purse I have in my hand, bearing an inscription, and I am very proud of it."

Miss Moore amusingly referred to several happenings during her stage career, including the dramatic one of her self and husband being taken into custody for a brief period at Brisbane a few weeks ago by an over zealous police constable who charged them with exceeding the speed limit in a motor-car. "We threatened to sue for damages for illegal arrest," she said, "and that seems to have frightened them as we heard nothing more about it. Some ten or more tears ago, whilst I was playing in Robin Hood at Adelaide, a severe earthquake shock occurred towards the middle of the performance. It threw the house into utter confusion, the people rushing into the yard, as also did members of the company, and they often refer to my attitude in shouting 'come back, girls. It's only an earthquake.' On another occasion I was playing at Perth, in 'Dr Bill.' My role was that of the sick patient, and in the scene where the doctor was preescribing for me, referring to the prescription he had the lines - 'Lot me see. What shall I put in it' when one of the gods shouted 'A packet of salts.' This provoked prolonged and uprourious laughter, but which was immediately exceeded in exuberance when the actor took up the point very smartly by saying, 'Yes, one packet of salts'"

Referring to "Oh, Jemima" to be played to-night, Miss Moore said it was an intensely amusing piece, she having the part of a maid who assumes the role of mistress of the house for a time, and that it was a part she revelled in. The piece was smartly written with good musical and dance numbers, and excellent parts for other members of the company.

(The Daily Mail [London, UK] - 12th October, 1906)
ACTRESS AT THE DAIRY SHOW - REALISTIC LESSON ON MILKING COWS

The Dairy Show at Islington was the scene of a lesson in the art of milking cows yesterday that if taken advantage of may add a picturesque feature to the butter festival in future years.

The two principals in the episode were Miss Carrie Moore and Mr. Dan Rolyat, from "The Dairymaids" at the Apollo Theatre, who went to Islington to get a realistic picture of a milking scene in which they were to be the chief actors.

"Up to a certain point," said Mr. Rolyat, "our venture was a complete success, for we borrowed three real cows from the exhibitors, and then headed a procession into the yard, where Miss Moore was to milk the cows, while I was to amuse the simple animals. Imagine our feelings, then, when a London County Councillor - he wore a badge at all events - came along and took our prize cows away.

"After a short deliberation with a man in charge of another cow, Miss Moore took up a position alongside the animal, and, removing her hat, attempted something after the manner of a milkmaid. The cow, however, evidently regarded the whole affair as a colossal joke, for she swished round her tail and nearly knocked Miss Moore off her stool."

"It was such a lovely cow, too" said Miss Moore, "a beautiful fawn colour, with mauve patches and big brown eyes, like a deer."

"In my opinion," said Mr. Rolyat, "that cow must have been colour blind; otherwise she could never have felt happy in those colours."

"We got our picture all right," he added, "but at one time I thought another county councillor would object. However, when Miss Moore, who was in fear of her life of the cow, got up and shook hands with the councillor he blushed violently and left us in peace with nature."

(The Grey River Argus [New Zealand] - 26th November, 1912)
MISS CARRIE MOORE - AN INTERESTING CHAT

Yesterday afternoon a representative of the Argus had the pleasure of a short chat with Miss Carrie Moore, who in spite of the bustle incidental to getting ready for the evening's performance, found time to give some interesting particulars of her career. In appearance she is a petite brunette, full of fire and animation and of a charming personality. She talks most entertainingly on a variety of subjects, and to hear the whole hearted way she speaks of her beloved profession reveals the secret of her marvellous success. With her the stage is not mere profession — not a means to an end — but something which she loves and gives her best work to.

THE REST CURE

Ladies who indulge in a siesta or "afternoon nap" will be pleased to know that Miss Moore is numbered amongst their ranks. "I do not think it is a luxury," she said most emphatically. "I consider it an absolute necessity for members of my profession, as it enables us to stand the great strain entailed in a way that would be otherwise impossible. From first entering the stage it was insisted that I should take an hour's sleep during the afternoon. At first I did not take kindly to it, but I welcome it now.

EARLY CAREER

"Oh," replied Miss Moore, in reference to a question as to her first appearance before the footlights, "I was engaged by Mr. J. C. Williamson in the Pantomime 'Djin Djin,' at the Princess Theatre, Melbourne, and I remained under his management until my twenty-first birthday when I sailed for London where I was engaged at the Adelphi Theatre as principal boy in the pantomime. I have played in all Gilbert and Sullivan's operas, and in various musical comedies; but so far have not taken part in legitimate drama although I hope to do so. I remained four years at Home and then I returned to Australia to take the leading part in the Merry Widow, and played with great success throughout the Commonwealth.

Three times it, was announced by Mr. Williamson that I was to come to New Zealand with the Merry Widow Company, but three times he changed his mind and he always found something else to do so as to keep me in Australia. I next received a very tempting offer from Messrs. J. Fuller to appear in the four principal cities of the Dominion, and as I had always wished to see this charming country I closed with the offer and the tour was a phenomenal success. This was about six months ago. I also appeared in musical hall items at Brisbane, Melbourne. Sydney and Adelaide. I afterwards organised my present company and went on tour of the Dominion.

THE PRESENT TOUR

The piece that I have staged for the present season is 'Chips,' and if any one wants a good laugh let him come along. It is the work of W. Edouin, a sterling actor who created the part of Hilarius in La Poupee and Haggenheimen in the 'Girl from Kays.' In the latter I had Letty Lind's part and the song 'Hiawatha' was created by me and was the greatest success I ever achieved.

SUCCESS AT HOME

When I went Home I did not go seeking an engagement, but in response to a tempting offer by Mr. George Edwards to appear in pantomime as principal boy. I afterwards was offered an engagement by. Mr. Robert Courtenidge. I appeared in Aladdin in the name part, and in the company was George Graves, the greatest comedian in England, who received at Drury Lane the handsome sum of £400 a week. I had the leading-part in the 'Dairy Maids' where I created the song 'The Sandow Girls,' which was specially written for me and which soon became immensely popular. I had the soubrette part in 'The Blue Moon' and played in Edwin German's fine opera 'Tom Jones,' in which I created the part of Honour.

I also appeared in pantomime in Birmingham, Liverpool and Manchester. I hope to go to America next year and one of, my sisters is at present playing in Chester's Opera Company — by the way, Mrs. Chester is Mr. Tom Pollard's sister.

NEW ZEALAND AUDIENCES

When I played in Fuller's circuit in the four cities of the Dominion Mr. John Fuller was very anxious as to how I would succeed with Dunedin audiences, but I found them delightful. I had crowded and enthusiastic audiences every night and they treated me splendidly. Mr J. Fuller complimented me on the way I had taken the Dunedin audiences by storm.

"You know," said Miss Moore, who evidently associates Dunedin with its pioneer residents, "I got on splendidly in Scotland when I appeared there; and I consider the Glasgow audiences the finest in the World. On the whole, however, I find audiences much the same everywhere. You give them the goods and they will treat you well. I have found the New Zealand audiences particularly kind, and they have been most appreciative wherever I have appeared."

HER FAMOUS NAMESAKE

Asked with reference to her famous name-sake Miss Maggie Moore, Miss Moore smiling remarked that the most amusing mistakes had arisen through the similarity of the names. In one place where she appeared an old gentleman came along to the ticket box and bought a ticket, remarking as he did so "I saw her about forty years ago, and I would like to see her again. She must be a pretty old woman now." ?

"SUCH IS FAME"

In another town in New South Wales where she appeared, a man, noticing the crowds going to the theatre, thought he would go also. He asked the ticket seller: What's on to-night mate? Carrie Moore, was the response. What sort of a picture is that? Is it comedy, drama or tragedy? He was evidently a patron of the picture show and was at a loss to classify "Carrie Moore."

While I was under Mr. Courtenidge's management in London Miss Maggie Moore played in Aladdin with me. She had the part of Biddy and I had the name part. I am not her daughter, as many suppose. Neither of my parents was ever connected with the stage, although my sisters have followed in my footsteps. In my case Moore is my proper name and Miss Lily Moore at present playing in Mr. J. C. Williamson's Company is my sister.

A TOUCHING INCIDENT

Miss Moore mentioned a sad little incident that occurred while she was playing in "The Merry Widow" in Adelaide, and the story incidentally revealed that Miss Moore possesses that kindness of heart that seems inseparably connected with the members of her profession.

A little lad, the sole support of his mother, was run over by a motor lorry, and as he was dying his cry was "who will work for mother now?" Miss Moore heard of this, and at once set about to show some practical sympathy for the bereaved mother. A motor lorry was obtained and she went about the town singing various songs from the opera and in two hours collected £9O.

IMPRESSIONS OF NEW ZEALAND

Miss Moore is greatly pleased with New Zealand and is in raptures over the many beauty spots with which it abounds. Her great regret is that she will be unable to make the overland trip to Christchurch so as to see the Otira Gorge. She says that one of the most beautiful sights she has ever seen was when the Arahura was leaving Picton on Saturday night. The moon was shining and the scene was indescribably beautiful. If an artist reproduced it as a scene for the stage no one would credit that it was painted from Nature.

Although a close look-out was kept on the trip there was no appearance of Pelorus Jack [a dolphin that was famous for meeting and escorting ships through a stretch of water in Cook Strait, New Zealand, between 1888 and 1912 - ed]. The bar here was on its best behaviouir, and she had no chance of viewing from the seaward side the ominous "Pawnshop sign" as Mr. Hugh Ward dubbed the "bar dangerous" signal at the Tip Head.

VALUE OF WIRELESS

She said that it was a great pity that the steamers on the coastal service were not provided with wireless. On the voyage across from Australia by the Wimmera the boat was a day late in reaching Auckland and this prevented their opening on the Monday. A wireless message was sent by her on the Sunday, and the announcement of the postponement of the performance appeared in the morning and evening papers and so any annoyance to intending patrons was obviated.

LAST NIGHT'S PERFORMANCE

Miss Carrie Moore last evening commenced a short season oF three nights at the Opera House before a numerous audience. Miss Moore has played with the J. C. Williamson Companies and with the George Edwards's, being given leading parts, and has made a big reputation wherever she performed. The comedietta "Chips," in which Miss Moore and Mr. Percy Clifton take the leading parts, is a musical farce with not much plot, but is full of mirth provoking episodes. It treats of Cassins Binks, a hard-up playwright, who endeavours to secure the assistance of actresses who have established their popularity with the public, and their admirers. In his task, he is rendered valuable assistance by his boy "Chips," from whose part the piece gets its name. The comedietta gives the two leading people scope for much comical play, and they kept the audience in roars of laughter while they occupied the board rehearsing a play of Binks's writing. A company of eight or nine people supported the principals, and also supplied several turns in the first part of the entertainment, which took the form of vaudeville. Miss Moore received a great ovation, the finished rendering of her songs securing for her several recalls. In the first part she sang "The Last Waltz," "All Alone," "If You Talk in Your Sleep," and "Put Your Right Hand up," being loudly applauded at the conclusion of each. She also sang well in the second part. Kennedy and Black were recalled for their singing, and "The Lusannes," singers and dancers, also came in for the warm approval of the audience. Mr. Percy. Clifton made a hit with his character songs, his turn being a popular one, while the song and dance given by Mr. Dalton went down well. It is as a dancer, however, that the last-named proved such a favourite, his eccentric dancing being the best seen in this town for years. The programme will be presented again this evening.

Carrie Moore (1883-1956)

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