Muriel H’s story

lady coventry roadMuriel (better known as Lady Coventry) has a street named after her – rare for a woman – in the area of Chippenham she was once Lady of the Manor for. Her achievements, as a prominent female member of the town Poor Law Board of Guardians, and only the second female magistrate the town had ever had in 1928, appear to have come in second to the extreme benevolence and generosity that she showed towards the impoverished residents of Chippenham. Lady Coventry Road, however, relates to the name she took when she married in 1893, and she was born a Howard and was a Lady from the get go.

She came from the family that produced Katherine Howard, fifth wife of King Henry VIII, but her branch split off in Tudor times. She was the eldest child of the 18th Earl of Suffolk and 11th Earl of Berkshire Henry Charles Howard, and as the daughter of an earl and a lord was entitled to call herself Lady her entire life, regardless of who she married. In the run up to her parents’ marriage her father had been MP for Malmesbury, located at the family seat at vast Charlton Park, to the north of the town. However, two years before Muriel arrived he had been defeated in the general election, so was taking a bit of break from political life.

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Charlton Park, where Muriel grew up. It is still in the Howard family.

Muriel was born in central London at the beginning of the 1870s, and was followed less than two years later by a sister who didn’t live long enough to be named. Her next sister, Eleanor, followed just over a year later, when the family were living in Rutland, and then another – Agnes – midway through 1874 when they were back in Wiltshire. The son and heir to continue the Earldom, Henry, was born in Scotland, and then Muriel’s final two siblings – Katherine and James – in Malmesbury in the 1880s.

Both brothers were sent away to school to be educated, as would have been common for sons of the nobility at this time – both attended Winchester College. Muriel and her sisters, however, appear to have been educated at home at Charlton Park. One census has a Scottish governess in the household, who is clearly in charge of educating the young ladies. It is always possible that Muriel attended some sort of formal finishing school before she made her societal debut, but there is no definite record of this.

She’d have made a formal debut at around 18, being presented at court to the queen as would have been expected for the daughter of an Earl, and would have officially entered the marriage market. This didn’t happen immediately for her, however, and the 1891 census finds her still at home near Malmesbury at the age of 21, so she probably enjoyed several London social seasons. The household at Charlton Park included a cook, a couple of lady’s maids, a footman, a butler, housemaids and kitchen maids, and even a still room maid – in charge of herbs and brewing for them all.

At the age of 23, Muriel married her first cousin – Henry Robert Beauclerk Coventry, the son of her mother’s brother. He was two years her junior, and had been a serving soldier. It’s likely she already knew him, rather than meeting him through society, but it still would have been an advantageous match. He came from a prominent Scottish family, and a divorce scandal involving his mother in the late 1870s was temporally far away enough to be forgotten. They married at the church closest to Charlton Park, and initially lived close by, but in 1894 took on the vacant Monkton House in Chippenham. This Georgian-remodelled property had traditionally been the seat of the Esmead and Edridge families, but until 1892 had been home to prominent local solicitor West Awdry and his family. His death left the house available for Muriel and Henry.

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Monkton House c1960

The first mention of her at Monkton House is as the honourable secretary of the Chippenham branch of the Soldiers and Sailor Family Association in 1894. All of the office holders were women from big houses and prominent families in the area. She also first joined the Chippenham Poor Law Board of Guardians in that year, alongside her husband, which was another function that was often filled by the wealthy and good of the town. However, in Muriel’s case it proved to be less of a duty and more of a passion.

She did not have children for a few years after her marriage, but at the end 1897 her daughter Joan was born, and she was followed by sons Dan and Arthur at two and four years afterwards. They were all baptised at the Charlton Park church, and appear to have been close to their mother’s family.

All three children appear to have been sent away to be educated once they were old enough. Invariably, at this time, most children of the gentry were taught at home by a governess until they reached the age of nine, and then went away to school. Muriel and Henry were far from alone while they were gone, however. Their household in 1911 had a clutch of servants – a cook, a lady’s maid, a nurse, a house maid, a kitchen maid and two parlour maids. This was considerably less household staff than Muriel had grown up with, which may reflect a downturn in their fortunes, but equally could be explained by Monkton House being considerably smaller than Charlton Park, and therefore needing less people to keep the household going.

One of Muriel and her husband’s first loves in the life of the town was music, and they actively supported orchestral work in the local area. Both of them immediately joined the Poor Law Board of Guardians, with Muriel taking the position of Vice-Chairman of the Board for a time and though she was offered the position of Chairman she declined it. When the workhouse, the focus of the Board of Guardians, became the Chippenham Institution in 1931 following a change of legislation, she was nominated to represent the institution on the county council. Later she held the Langley seat on the council, and represented the area.

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The former Chippenham workhouse, now the town hospital

During the First World War she was involved in the food control committee, ensuring that everyone locally had enough to eat. Her daughter Joan, like many other upper-class women of the age, volunteered at the local field hospital and became a staff nurse treating wounded soldiers. Neither of her sons were old enough to fight in that conflict, but Arthur went into the navy straight after the war. Her brother Henry, however, who had become the next earl of the death of their father in 1898 and married a blue-blood American woman, was not so lucky and was killed by flying shrapnel in 1917 while serving in modern day Iraq.

Two of her three sisters and other brother had married equally well (the third sister remained unmarried her whole life). Her mother, after she was widowed, left the big house and moved to a cottage on the Charlton Park estate.

Muriel’s sister Eleanor, and brothers Henry and James. A publicly available photograph of Muriel is not available.

In 1919, a descendant of the Esmead and Edridge families, Miss Carrick Moore, sold the Monkton House buildings and all the estates. Muriel and Henry, who had only rented the house until this point, bought the property that they lived in and all the surrounding land. Lady Muriel is referred to as the owner, rather than Henry, so it is probable that it was her inherited money that bought the estate.

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Monkton House c1987

Muriel was deeply involved in the provision the Chippenham workhouse and later the Institution made for those in poverty. The general feeling among the place was that she treated the premises as her own house, and would often work tirelessly to improve the lives of those who resided there. She knew that many of the young women who grew up there and were placed in domestic service had nowhere to call home and return to during their time off, so she provided and furnished a large sitting room at the institution for their use, so they had somewhere comfortable to return to. She also provided a new organ for the workhouse chapel, and kept it maintained.

In 1928 she became only the second female magistrate to ever sit on the Chippenham bench, and regularly worked in local law matters, preferring public assistance cases and working in out-relief. She also had a considerable interest in the town hospital, and nursing association, sat on the parochial council of one of the churches, and was a manager of the local schools before they were taken over by the county council.

Her son Dan served in the army, but remained based at home. Her son Arthur was sent around the world with the navy, but married and eventually settled. Her daughter Joan did not marry either, but lived in Oxfordshire for a time and also spent time in India and South Africa.

At the beginning of 1938 Muriel was taken ill and was not able to attend her usual public meetings and duties. Wishes were sent for her recovery to no effect, and she died in mid-February just shy of her 68th birthday. Many public institutions mourned her passing, with reports of her good work and benevolence given in the local papers.

“When dealing with out-relief cases she was always just; with her own purse she was always generous.”

“No one more than the officers knew that vital work Lady Muriel did, and the untiring energy she always put into everything she undertook. The officers felt they had lost a true friend.”

In her will she left £26,500 to her husband. Her daughter Joan died during the Second World War, and her son Dan died directly afterwards. Muriel’s husband Henry lived until 1953. In 1954, part of their land was sold off to make a cattle market on Cocklebury Road. Further probate was settled for Henry in 1957, when Chippenham Council acquired the land and house. Muriel’s house was divided up into flats and is now in multiple ownership. An estate of houses was build on some of the lands, with some streets named after the families that had owned the house – and that’s how Lady Coventry Road was named. The rest of the land now forms a golf course and a public park.

monkton park

Lena B’s story

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Sarah Eleanor, known to the world as Lena, didn’t quite run off with the gypsies, but was steeped in the world of the travelling shows that toured and entertained the UK in the later part of the Victorian era and into the 20th century, gave birth to many, many technically-illegitimate daughters in a little horse-drawn caravan around the whole of northern England, and ran a clog-dancing family act that appeared on variety and music hall stages for years.

parsons entertainers

Lena was a soldier’s daughter, born in the later part of the 1860s in the Colchester area of Essex. The 1871 census finds her living in Edinburgh with her parents and younger brother George, but it’s not clear if they’re permanent residents or passing through. Her elder sister Mary Ann had been left with her maternal grandparents in Westmoreland.

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Lena’s childhood appears to have been one of constant movement – while she was born in Essex, sister Mary Ann entered the world in Lancashire, brother George in Winchester, sister Rachel in York and brother Charles in Leeds. This indicates her father’s military role took him to many different places, and the growing family were probably housed in barracks when Lena was small. Later siblings Agnes, Alice, Elizabeth and Archibald were all born in Burnley, Lancashire – so by 1876 Lena’s father appears to have stopped soldiering and started to put down roots. However, by 1881 he is unemployed and the older children in the family – Lena included, then only 14 – were working as cotton weavers to make the family ends meet.

cotton weaver

In 1887, when she was around 20, Lena got married. Her husband was Henry, who worked in Burnley as a warehouseman – quite possibly in the cloth trade of the area. He was a widower, with two sons of his own. Their first child, a son called George, was born at Todmorden in 1889, and then their daughter Ethel was born three years later in 1892.

At some point around this time, however, something went awry in Lena’s marriage to Henry, which was only five years old. She appears to have met another man – Barnaby – who was a little her junior and had also been working as a cotton weaver in the area, and took up with him instead. Around this time Lena’s father died, aged just 46.

While divorce was possible for people of Lena and Henry’s class, and Henry would have had a case with his wife’s adultery, legal proceedings were expensive. Many people in their position saved for years to be able to bring proceedings to court. Lena and Henry never did though – it may have been reasonably amicable, or at least a situation they could live with. Lena’s new life with Barnaby may also have been a factor – he had started running an auctioneer’s van that travelled around the area, so the social factors around a new partner for Lena may have been easier to manage if she never stayed in one place too long. The death of her father may also have been a factor in this change of direction – as he wasn’t around to question Lena’s choices. Exactly what Barnaby was auctioning in different places in the north of England is open to question – presumably these were things he bought off one community and then sold off to the next – but it appeared to be lucrative enough to support a small family.

Lena and Barnaby’s first child, a daughter called Marguerite, was born in Clitheroe, Lancashire, in 1894. She was followed by Alice in 1896, who was born in Oldham in Lancashire and baptised four months later in Halifax, but died before her second birthday in Hemsworth, Yorkshire. Around the same time next daughter Georgina entered the world in the back of the auction van in Dewsbury, again in Yorkshire.

This pattern repeated itself over the next few years – babies born in one place and then christened in another: Mary in Burnley in 1899; George in Belper (Derbyshire) in 1901, twins Ann and Louisa in Lancester (County Durham) in 1903, with Ann dying in Nottingham a short while later; Alice in Prescot (Lancashire) in 1904; Charles in Fylde (Lancashire) in 1906; and Wilhelmina in Saddleworth (Yorkshire/Lancashire border) in 1909. All were born on fairgrounds, as naphtha flares lit the sky.

caravan 1900s

This creates a picture of many people on top of each other in a small horse-drawn space, with little privacy, and a constantly mobile lifestyle. However, daughter Marguerite actually attended grammar school for a year in Derby around 1903, so at times Lena and Barnaby must have been static. On the school records their van is parked at the Market Square. It is equally possible that Marguerite may have lived with others during that year, however, while her family kept travelling. Lena and Barnaby would reportedly pull up in towns and villages and set up a big fit up theatre tent, where Barnaby would auction many different things, and then he and Lena would perform a melodramatic skit. As the children grew they would join in too. Barnaby had apparently got his start in the theatre in Blackpool productions, and had been a partner of George Formby Senior in his early years.

Lena’s older children appear to have lived with their father and/or other relatives for at least some of the time. While Ethel is living with Lena’s widowed mother on the 1901 census, and Lena and Barnaby are with their children in Alfreton in Derbyshire, by the time the 1911 census comes around both Ethel and the first George are with their father in Burnley – Ethel working as a cotton weaver and George as a shorthand typist at one of the town’s cotton mills. Henry claims to be a widower with no children on this census, which isn’t exactly true but was perhaps an easier explanation.

Meanwhile, on the same document, Lena and Barnaby and eight children (ranging in age from 1 to 16) are living in their show caravan at a fairground at Blackrod near Wigan. By this time Barnaby had given up the auctioning business at some point after 1906 and had moved on to something far more early 20th century – cinema projection. He would have carried his equipment with him in the van, including projectors and film reels, and broadcast the black and white silent films of the day to audiences. This would have been part of the whole travelling side show experience, with a growing audience appetite for the moving pictures that would have been projected on to the canvas of tents as part of a range of attractions – possibly including music, dancing, circus skills, and curiosities like strong men or bearded ladies. More information about travelling shows can be found at the National Fairground and Circus archive: https://www.sheffield.ac.uk/nfca

Two years later, Lena’s legal husband Henry died, so she and Barnaby were finally able to marry. They did so in the summer of 1913 in Burnley. Barnaby had taken some work as a painter and carpenter in the run up to the first world war, so it is likely that they were static for a while. With the babies of the family starting to be able to assert themselves properly, the family reinvented themselves as music hall theatre artists, as the skills they had gained and developed among the travelling shows came to the fore. By all accounts they could sing, dance, act and play instruments. They formed a family act, with Barnaby in charge and Lena playing all the mature female parts, which appeared on the sands of Morecombe Bay three times daily in the summer of 1913 – and were promptly fined for not having applied for performance licenses for Louisa and Alice, then aged 10 and 8 respectively. They had also performed in the same place the previous year. Eldest daughter Ethel, Lena’s daughter with first husband Henry, appears to have joined the family troupe around now, but her eldest son did not.

Lena’s talents appear to also have been in performing, although she seems to have known what would entertain audiences too. Her first mention as a performer and dramatist in her own right came in the early months of 1914, when she is billed as Madam Parsons and the originator of a pantomime version of The Babes In The Wood featuring her seven daughters – now called the Seven Lucky Lancashire Lasses – as part of a “first class cast of 30 artistes” which ran at a theatre in Derbyshire. The choice of name for the family act appears to derive from the Eight Lancashire Lads, a troupe of clog dancers founded in the 1890s who were also touring and treading the local boards and at one point included Charlie Chaplin, but Lena’s daughters’ unique selling point was that they were all related. The girls all could clog dance too – a style developed in the cloth mills of Lancashire which was performed in wooden soled shoes that were worn in the factories, and is a pre-cursor to tap dancing.

Madam Parsons panto

The beginning of the First World War, and its associated patriotic fervour, appears to have sent Lena’s star into its ascendancy. Barnaby went off to war early – in the autumn of 1914, when married men weren’t required to until 1916 – and the family act became Madam Parsons and the Seven Lucky Lancashire Lasses and continued to tour northern stages. Newspapers would give the impression that Barnaby was the driving force behind the act, but Lena spectacularly taking the reins during the war years shows that she was also prodigiously talented and very much at the head of the family entertainment business.

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Lena took the part of Britannia in one part of their performances, with her children, including the two younger boys, were England, Scotland, Ireland, Wales, soldiers, sailors and boy scouts. A great fuss was made of their “Soldier Daddy” who was away with the army, initially in France and then in the Army Ordinance Corps when his health prevented front line duty. Lena and the children sold postcards of themselves, and sheet music, and performed to raise money for war funds, with Lena directly appealing to packed houses for money to support the armed forces and medical services. Other acts joined them, including acrobatic roller skaters, gymnasts, singers and comedians, but Lena appears to have been completely at the hilt of the shows. There would have been various administrative and production duties involved in producing the shows – licenses for underage performers (you had to be 12 before you could perform legally and therefore special paperwork was needed for the younger members of the family), wages for other performers, and stagecraft, and many other considerations – which Lena would have taken on.

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Lena as Britannia in her family’s patriotic performance

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Lena and daughters around 1920

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Barnaby was discharged from the army in 1917, and returned to the fold with the family, who were at that point living in a van in Morecombe. The performances continued, with a move into music hall rather than travelling shows, and he appears to have taken charge at a theatre – at least briefly – where he’s described as a pantomime proprietor. They put on performances of The Babes In The Wood and Cinderella in various theatres during the winter months. Their claim that they were the only related family act performing anywhere is given in every advert, with £500 offered if this claim was not true, and it sounds like Lena was still a big part of the performances and the administration. They continued performing, with engagements every week, for many more years – in various theatres, and each summer in Morecombe Gardens for three performances daily – until at least the mid-1920s.

lanchester music hall

The gradual marrying off of Lena’s daughters put an end to the long-running family act, although most married into the theatrical business. Eldest daughter Ethel married John, a clerk at the lino works in Burnley, in 1914. Her performances with the family continued through the war years, but it’s uncertain how much of a role she played afterwards. They had no children, and lived in Lancaster. The others stayed closer to the family business, still taking part in performances. Daughter Marguerite, known as Maggie, married in Scarborough in 1920 to a music hall director and had a son and described herself as a variety artiste, while Georgina married Samuel Sharples in 1925. After her widowhood in 1939 she lived with her parents and her son, and still performed in the family act. Doris, known as Dolly, married a music hall director. The boys married too: Charlie to Mona, a professional dancer.

pantomime

Mary, known professionally as Eva, married a pianist in 1924 and had a son. Daughter Alice married Speedy Yelding, a clown and comedy wire walker, in 1927, while youngest daughter Wilhelmina, known as Mona and a stunning banjo player, did not marry until 1962.

Lena and Barnaby retired to Southport. In later years Barnaby, known as Papa Parsons, gives his profession as an advertising agent, so he and Lena are probably managing the careers of many performers, including their offspring. Charlie and George had their own variety act, that played on the Blackpool coast for many years, and towards the end of his career Charlie made a couple of appearances in Coronation Street.

Papa Parsons died in 1945, in Southport, to a major outpouring of grief from his offspring and wife in the newspapers. Lena’s death, the following year, went unremarked upon – though she was a considerable part of the family business in her own right.

Griselda C’s story

Daughter of a baronet, Griselda was a considerable part of the movement to collect and preserve British folk music, spearheaded by Cecil Sharp. While the women who are mostly remembered tend to be the collectors themselves – Lucy Broadwood, Maud Karpeles, Mary Neal, Kate Lee – as their work is filed in libraries and is therefore still visible, rather than those who gave more physical support. Griselda, as headmistress and founder of her own private school, was able to give space to early English Folk Dance Society and Folk Song Society activities and summer schools, and supported the movement and the songs and dances’ preservation that way. She was a believer in giving the knowledge and information that had been collected back to the people and sections of society that might have become detached from whence it came, and worked at a grassroots level to encourage everyone to know and experience folk songs and dances from the British Isles.

Cecil sharp sign

Griselda never really knew her mother, a daughter of East India Company civil servant Sir Thomas Metcalfe who died when she was two after giving birth to her youngest brother. She was second youngest in a family of 13 siblings – although her sister Pamela died at the age of 2 – and had two sisters who lived and nine brothers. Her eldest siblings had been born in Bengal, where her colonel father had been stationed, but the family returned to England in the early 1860s. They first lived at various different army bases, but by the time Griselda arrived in the later years of that decade they had been established in Herefordshire for many years.

As upper-class Victorian children, Griselda and her siblings had domestic servants, a nursemaid, and a governess at home until they reached the age of nine or so. Thereafter, they were sent away to school. The family’s boys appear to have gone to a school run by a vicar in Ashbocking, Suffolk, while the girls went to West Grinstead Lodge at Belstead, also in Suffolk.

It was here, while at school with her older sister Finetta, that Griselda would have learnt of her father’s death in 1882, at around the age of 12. The barony went to her older brother Guy, who at this point was out in India serving in the army, while it seems likely that Griselda continued at school, later moving to further study at Westfield College in Hampstead which was a women-only institution founded in 1882. Some of her brothers also went out to India with the army, while others took up professions in the church.

On leaving school, Griselda went to live with her brother Francis, who later became a reverend, but in the early part of his career he held a position of assistant second clerk in library of the British Museum. Her eldest sister Annie also lived with them, as did her youngest brother George. Neither Annie nor Griselda had to work, and the household had a servant, so it was likely that they were still comfortably off.

In 1894 Griselda married Dudley, who was both the son of a Lord and a prominent (if understated) member of the Royal Asiatic Society. An authority on the Malay language, he had spent considerable time in the Far East before marriage, and was also appointed a fellow of the Royal Geographic Society, and published papers in both society’s journals. He was 20 years her senior.

They had three children together. A son, named Dudley, arrived a year after the marriage. Another son, Ambrose, followed four years later but sadly only lived for two weeks. And a daughter, also named Griselda, was born in 1901.

They settled in Aldeburgh, on the Suffolk coast, at around the time Elizabeth Garrett Anderson lived in the town, and employed a cook, a parlourmaid, and a lady’s nurse – which implies that Griselda’s health could be on the delicate side.

In 1906 they turned their residence into a private school for girls, with Griselda as headmistress. The fact that it was a private school meant that she, as a married woman, was able to hold the position and teach her pupils – had the school been run by a local education board she would have been subject to the marriage bar on female teachers.

The school was called Belstead House, named for the location of her former school, and was for girls “of breeding and means”. When the school began there were only seven pupils, but by the 1911 census this had grown to 17, and numbers continued to expand over the next decade. In 1911 there was one other teacher in addition to Griselda, and a full complement of domestic staff to look after the family and the pupils, who ranged in age from 11 to 16.

belstead house school

In 1911, her husband Dudley took a tumble from a pony and trap and broke his shoulder bone, which festered. and he died a week later. Griselda maintained the school, and together with her two children and house full of staff, continued to run it as a success. The reputation of the school was extremely good, and it attracted interest from many families who could afford the fees.

They took on adjoining premises to accommodate more pupils, building a gymnasium and a chapel, and even a domestic science laboratory – the subject during this period looked more at the actual science and technology of food and domestic chores, rather than teaching girls how to do them, and was a route into science for many young women.

Her son Dudley, who was educated elsewhere, went to fight in the first world war, and was able to come home afterwards. He married in 1926. Her daughter Griselda was educated at her mother’s school and went on to become an actress.

Griselda senior’s link to the British folk revival came through her friendship with Cecil Sharp himself. Her later obituary reports that she was a strong believer in the educational value of folk songs and dances, which aligned with Sharp’s own views. She incorporated folk songs and dances in the curriculum she taught at the school, encouraging those best at the art forms to go out into the communities just outside Aldeburgh to help local girls and young women form folk music groups and companies of their own. She was awarded one of the first two gold badges (the highest accolade) by the English Folk Dance Society – which later incorporated with the Folk Song Society in 1932 to form EFDSS – in 1922. The other recipient was Lady Mary Trefusis, who is commemorated with a hall named after her in London’s Cecil Sharp House, but no real mention of Griselda is evident on those premises today and even her gold badge names her as “Mrs Dudley Hervey” rather than using her own first name.

EFDSS-gold-badge

In addition, she also invited Cecil Sharp’s Summer Festival School to make use of the school buildings as their headquarters when the venture outgrew previous accommodation at Cheltenham College. This – the last summer school that Sharp ran himself – took place in 1923. Several hundred people attended, working on dances and songs, and Sharp gave lectures. Griselda kept a scrap book, containing photographs, programmes and correspondence about the event, which is now held by the University of California.

The revival and preservation spirit was so deeply embedded in the school’s philosophy that when Romanian pianist and composer Béla Bartók was invited to give a concert to the pupils in December 1923, he found that the girls were completely capable of learning and following Romanian folk dances without much bother.

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In addition to the emphasis on the folk arts, Griselda’s school also focused on French, and actively prepared girls for university education. She was also keen to promote good living and bodily welfare to her pupils, which included establishing a “clean milk” dairy for the school’s use, and worked on matters of faith and spirituality across the whole school. She was local deputy commissioner for the girl guides too, and worked with young people across the Aldeburgh community as well as her pupils.

In the later 1920s, however, she was in poor health. She died at the school in 1929, in her early 60s, of heart failure. Her elder sister Finetta, who had married and spent considerable time in India, then came to run the school in her stead for a few years, maintaining the values that had been established and sustained under Griselda. The school building is now a holiday home for Aldeburgh’s thriving tourist trade.

Griselda hervey pic

*****

A footnote should give more history of her daughter Griselda, who went on to be an actress as Grizelda Hervey. She appeared on stage in Ireland in 1923, and newspapers report her role as the Spirit of Kent in a pageant of 1931. Much of her renowned work was broadcast on the radio – for example the BBC broadcast a play called Congo Landing by Horton Giddy in 1935, which was an account of the adventures of Lady Susan (Grizelda) and Captain Smith (Stewart Rome) in the Cape Town Air Race. She was also in the cast of the first broadcast of the Forsyth Saga in 1945, when the BBC Home Service put on A Man of Property with Grizelda as Irene.

Griselda 2

She also appeared in extremely early live broadcast television plays on the BBC. Two of these were The Royal Family of Broadway, and The Circle, both from 1939. Television at this time was broadcast live to anyone who had a set, and no recordings of these plays were ever kept. Later television work included one episode of The Wednesday Play in 1966. She also appears to have consistently worked in theatres.

In September of 1957 she married Clarence Napier Bruce, third baron Aberdare of Duffryn. In early October that year the couple were in Yugoslavia to attend a meeting of the International Olympic Committee at Sofia, and planned to drive home through the country as their honeymoon. Their car fell over a precipice near Risan, into water. Clarence drowned, leaving Grizelda a widow after being married for just one month, and she herself was injured in the fall. To the end of her days – she died in Hull in 1980 – she was styled Baroness Aberdare of Duffryn.

Evelyn D’Alroy’s story

Actors from the early 20th century are perhaps best remembered today if footage exists of them, as the popular Edwardian theatre was a fast moving world, and many young women would give up their stage career when they married – either through necessity of staying home with children or propriety within society. However, the silent film era, although exciting and great for career exposure, didn’t suit every actor at that time. Early films could be jerky, and stage actors who traded on delicacy of emotion would not be best suited to that medium, and similarly a singing voice and deft use of words and tones would not transfer well to the screen. Evelyn was one such actor, and she did not live long enough for the development of the talkies to bring her style to the screen.

As Evelyn D’Alroy she was much renowned, a beautiful touring actress who was written about in all the newspapers and even had a musical dog that she performed with. However, the exotic last name was a stage name, and she’d been born plain Evelyn Tegg – but kept her stage name even when she married.

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Evelyn in 1910, from the National Portrait Gallery collection

Her father, William, was a veterinary surgeon – which probably accounts for Evelyn’s love of dogs – and lived in Hackney. Evelyn was the second child of three, with an older sister and a younger brother, and was born at the beginning of the 1880s in London. Vets would have earned relatively well at the time, as they would have been particularly important in keeping horses – the main mode of transport – fit and healthy. Her mother also came from a solid middle-class background, as the daughter of a military prison warden. Evelyn and her siblings grew up in Tottenham, London, and then Stamford Hill, and would have benefited from enforced elementary education.

However, she lost her father at the age of 12, and he only left the family a little to live on. Her mother took in boarders to make ends meet, and also taught singing – earning enough to keep a domestic servant – and probably influenced Evelyn’s acting and musical career.

She clearly was a violinist of some talent, appearing in various concerts alongside other musicians in the last couple of years of the 19th century under her birth name. Evelyn D’Alroy appears to have come into being in the summer of 1899 as she took a part in a touring production of The Streets of London – an anglicised version of Dion Boucicault’s The Poor of New York, exploring the fortunes of a family facing the 1857 financial crisis. Although her debut was widely held to be in 1902, she was performing in this touring play and others throughout the end of 1899 and into the first couple of years of the 20th century.

Evelyn d'alroy again

The official acting debut that is cited as hers was in “the provinces” (aka not London) in a farcical comedy called Why Smith Left Home in 1902, at around the age of 20. This play, by George Broadhurst, featured comic adventures of a man and his new bride – presumably Evelyn’s role. On her performance here, she was snapped up by theatre agent William Greet, and toured the country in various productions under his management. In the background, her older sister had married a fish salesman and started having children herself, while her younger brother had begun working. Her mother had also remarried, to the head of a wheel and machinery company, and set up home with her new husband in Twickenham – to where Evelyn returned when she was not touring. One of the theatres she is known to have played under this management was Southampton’s Grand Theatre, where she appeared in historical tragedy The Sign of The Cross from 1903 to 1904, although she had been in the play in the years before that. Newspapers of the time indicate that this production went to Durham, and Bristol’s Princes Theatre, Southport, Luton, Burnley and various other places. The newspapers were full of praise for her skills, if less so for the plays she was performing in. One wrote:

Miss Evelyn D’Alroy is a charming actress, and her gifts were really wasted in such a piece.

She also appears to have been managed by Ben Greet, brother of William, during this time too, which meant that she was consistently working.

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Evelyn in 1913, from the National Portrait Gallery collection

Her London debut was reputedly as the Duchesse de Longueville in a period piece, The Bond of Ninon, at the Savoy Theatre in April of 1906. This play, written by Irish playwright Clotilda Graves, explored the history of Ninon (Anne) de l’Enclos (1620-1705), who intrigued many distinguished French men in the 17th century. As a production it wasn’t well received by everyone, but Evelyn performed alongside celebrated actors of the day Henry Ainsley and Lena Ashwell, and well and truly launched a career of note.

Her first supposed proper recognition was the leading part in The Builders by Norah Keith at the Criterion Theatre in 1908, described by a paper of the time as a “women’s suffrage play”, although it seems to fall into the anti-suffrage thinking rather than the pro, which examines the relationship between Adrian White, K.C., one of the foremost legal forces of the day, and beautiful divorcee Mrs Cray – Evelyn’s role – whose undying gratitude Adrian has won by winning her divorce case for her and gaining her custody of her daughter. Together these two build an illicit relationship, which leads to the play’s title. A review said:

Miss D’Alroy… is an emotional actress of distinction and personal charm, whose opportunity has yet to come.

While appearing in this play she also had the role of the heroine, Lady Lulu Devas, in After the Opera at the Empire Theatre. This was originally a French work, which had been translated into an English setting.

The discrepancy in accounts of Evelyn’s career details may lie in who she married. In the spring of 1908, about six months before The Builders hit the stage, Evelyn married theatre critic and journalist (Thomas) Malcolm Watson, a Scot who was about 25 years her senior. They appear to have met during 1905, when she appeared in his play Two Men and A Maid as the character Molly Price, which was playing at the Opera House in Northampton. She made a hit in this role.

Malcolm, as a regular critic, was in a good position to edit his wife’s rise to fame in official sources, and probably did so. They had no children together, but did have several pet dogs. She also relaxed by going motoring and playing golf.

By the end of 1908 she had been taken into the Lewis Waller Players and regularly worked at London’s Lyric Theatre. Roles here included Iduna de Solatierra in Ronald MacDonald’s The Chief of Staff, Lucy Allerton in Somerset Maugham’s The Explorer, Sadie Adams in Conan Doyle’s The Fires of Fate, and Anne of Austria in a revival of The Three Musketeers. Her husband, an accomplished writer who dabbled in writing drama as well as criticism, wrote a playlette for her to perform – Sanctuary – in 1909, to be performed at Christmas in the Empire theatre alongside other variety acts.

Fires of fateEvelyn d'alroy fires of fate

In September 1909 she was taken on by Sir Herbert Beerbohm Tree at His Majesty’s Theatre, indicating that her star was very much in the ascendency. Parts here included Yaouma in the Ancient Egyptian-set Fake Gods (translated from Brieux’s La Foi), which ran for 69 performances, and Lady Benedetta Mount-michael in The O’Flynn – Justin Huntley McCarthy’s 17th century-set play based on Irish events around King James II and William of Orange.

She also played the muse character Bettina Brentano in a biopic called Beethoven, Sport in Ben Jonson’s Vision of Delight, and Shakespearian characters Ophelia, Portia and Oberon. Hamlet’s Ophelia was reputedly her favourite role to play. Later she went to the St James Theatre under Sir George Alexander, with roles including the Chinese Princess in Turandot in January 1913 (this was Max Reinhardt’s Berlin production, brought to London and translated from the Vollmoeller version of Gozzi’s original play of 1762 by Jethro Bithell, and not the later Puccini opera), and Pamela Townshend in Louis Evan Shipman’s D’Arcy of the Guards.

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Evelyn as Turandot, in the 1913 production. From the National Portrait Gallery collection.

She played Mary Shrawardine in The Crucible (not the Arthur Miller version, but an earlier play by MPs Edward Hemmerd and Francis Neilson where a brother begs his sister to become a millionaire’s mistress) at the Comedy Theatre, and Brenda Carlyon in Raleigh and Hamilton’s The Hope at Drury Lane in September 1911.

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Evelyn as Oberon in A Midsummer Night’s Dream

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Her early music training came into play in her later career too, drawing on her mother’s singing teaching that she must have benefited from during her teenage years, as she was known to have an excellent soprano voice. She appeared in Oscar Strauss’ operetta The Chocolate Soldier, playing Nadina Popoff – a role that required a great deal of singing – at the Lyric Theatre in 1910-11. The original was in German, itself a reworking of George Bernard Shaw’s 1894 play Arms and The Man, but it was translated into English for a Broadway production in 1909. Evelyn also sang the leading role of Princess Yolande in Love and Laughter, another Strauss operetta, at the Lyric theatre in 1913. Her reported “bubbly personality” worked well in musical comedy, and these operettas reputedly gained her more fans.

In addition to acting in long-running productions, she appeared in some one-off shows, probably variety-act based. Music made an appearance in these too, as one newspaper reported:

Miss D’Alroy was a great dog lover. One of her pets, a cute little Airedale, was taught by his mistress to sit at the piano and make “music” with his paws. He was also accused of “singing” to his own accompaniment.

Dalroy and pet

During 1914 to 1915 she went back on the road with the Louis Waller Players, performing in touring productions around various different provincial theatres. Two of these productions were Dion Clayton Calthrop’s The Other Side of Love, and a play called Monsieur Beaucaire – set in 18th century Bath.

Many of Evelyn’s roles were in productions that were later put onto the silver screen, or reworked into other formats, for example The Chocolate Soldier was adapted as a silent film in 1915, but that technology was in its infancy when Evelyn was performing.

Sadly, she did not live into an era where her acting would have been appreciated in a cinema. In the April of 1915 her touring production with the Lewis Waller Players reached Sheffield, but she was taken ill suddenly with appendicitis. She was operated on at the hospital, and her appendix removed, and taken to a nursing home to recover. Her husband went to Sheffield to be with her, but she developed pleurisy and pneumonia and died three days later. She was just 33 years old. Two or three hundred people came to her funeral, including various theatre luminaries of the time.

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Evelyn in 1913, from the National Portrait Gallery collection

Ethel B’s story

It is relatively well known that English universities would admit women to study during the late 1800s, but would not award them their degrees or admit them to the university. Newham College in Cambridge is a good example. Founded in 1871 as the second women’s college at the University of Cambridge, and amalgamated into the university in 1880, women could sit university examinations from 1881 and their results were recorded in lists separate from the men. Various attempts were made to persuade authorities to give women their full degrees and privileges rather than just a certificate, one in 1887, another in 1897, and a further attempt during the first world war. Oxford – which had similar rules, capitulated in 1920 but it took until 1948 for the change to happen at Cambridge.

In contrast, the situation in Ireland was different. The Royal University of Ireland Act 1879 allowed women to take university degrees on the same basis as men. However, Trinity College Dublin – also known as Dublin University – which was seen as a sister institution to Oxford and Cambridge in the pre-split British Isles, was still a sticking point. They might have been comparatively late in admitting women to study in that it took until 1904, but unlike the English schools women were allowed their degrees from the get go. So much so that women who had gained their degrees at Oxford and Cambridge but had been denied their award on the basis of their gender could travel to Trinity to be awarded it. These women were known as the steamboat ladies, and the arrangement continued until 1907.

It was against that background that Ethel studied at Trinity College, entering around 1908 at the age of 18, one of the first groups of women to do so – but had had involvement with the college earlier via her later schooling – which took place at Alexandra School and College, a Protestant foundation intent on furthering women’s education that offered an equivalent education to that afforded to boys at the time, with a grounding in maths, philosophy, history and the classics. Lecturers at Trinity College would also provide tutoring for girls at Alexandra, and the two schools enjoyed close links.

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She’d been born in Ballycastle, in County Antrim in what is now Northern Ireland, at the beginning of the last decade of the 19th century, the daughter of a Church of Ireland Reverend who had also studied at Trinity College. She was the fourth of six children – four girls, two boys – and led an extremely musical upbringing. Her father was a renowned authority on church music, one of her sisters studied at the Royal College of Organists, and another was a licentiate of the Royal Academy of Music who specialised in putting contemporary lyrics to old Irish airs. The girls of the family were educated by governesses at home in Ballycastle for the most part, but Ethel went off to Dublin to board at Alexandra College at about the age of 14.

In 1908 she moved to study at Dublin University, based at Trinity College, where – interspersed with some secondary school teaching (presumably to fund her studies) she achieved a BA (Hons) degree in French and English in 1912.

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In the years between women being admitted to universities to further their studies and the growth in women’s employment of various types during the First World War, teaching in schools was the best possible place for educated women to continue learning and flex their grey matter. The only trouble was that the marriage bar was in place for women teachers – so at the point when Ethel entered the profession if she found a relationship she would have to give up her learning and research. The idea that women went to university just to find a husband seems to have originated in this era, but this doesn’t seem to have been the case for Ethel.

As it was, she began working for her Master of Arts while simultaneously taking on a teaching position at the County School (later Fitzmaurice Grammar) in the picturesque Wiltshire town Bradford-on-Avon. She started work here in 1915, and was awarded her MA at Christmas in 1916, which is proudly remarked upon in their staff register. Most female teachers in this era did not hold degrees, let alone post-graduate ones. Some were even uncertified, and had learnt their skill on the job starting as a pupil teacher, whereas others had undergone some training at teacher training colleges. Ethel would therefore have been a rare and prized member of the school’s female staff.

This school had been going for nearly 20 years at this point, under a male headteacher. Many of the teaching staff were female, however, as was fairly usual in schools of the time. This school was mixed gender, and selective based on ability, as during the pre-1944 grammar and elementary system many schools were. Here Ethel taught French and History, in conjunction with stalwart school deputy head Julia Blake. Both are given as languages and literature specialists in the town’s trade directory for 1915.

Fitz Aerial view

Both brothers fought in the war. The elder rose to a high rank, whereas the younger was badly injured in 1917 and became a senior classical music master at a school in Mauritius. Both musician sisters appear not to have married, since that choice would have meant giving up their playing by the rules of society of the day. Her mother died in 1919, just after the war ended, and her father followed her in 1921.

This appears to have instigated a change for Ethel. She left Bradford on Avon in the September of 1921 to become French mistress in the next town over at Trowbridge Girls High School. This was a single sex, fee paying school – not necessarily a step up for her, but a different position in a slightly bigger town. She appears to have been here until around 1926.

trowbridge girls high

In the mid-1920s she chose to follow her faith and became a missionary with the Society for the Propagation of the Gospel in Foreign Parts (SPG) at their base in Cawnpore (now Kanpur), India. Now called United Society Partners in the Gospel, the organisation was a high church group based in the teachings of the Church of England – not too far away from the Church of Ireland organisation that Ethel was brought up within. Here she was given a head teacher position, as head of the SPG School of the Epiphany, working with elementary school-aged girls.

Although the position in India fulfilled her desire to bring the Bible and its teachings to a different part of the world, her school position here did not particularly suit her as she was teaching to a much younger age group and found this frustrating. While there she was offered the secretaryship of the local YMCA, various jobs at the Indian girl guiding headquarters, a position at one of the biggest women’s colleges in India, and even the position of headmistress at one of the most prominent girls’ schools in North India. She refused all these, remaining loyal to the SPG mission, but hoped that the society might help her find a better post within their ranks.

A keen member of the girl guiding organisation, she asked mission if they would lend her to be a guide trainer for three years with the United Provinces Educational Department while she remained at Kanpur, but this was not allowed and she stayed with the Epiphany School and committed to her role as missionary.

At some point between 1929 and 1932, however, she felt she had given enough in Kanpur, and returned to the UK. She lived for a time at a prominently designed youth hostel in London, and in September of 1932 was appointed headmistress of a private girls’ school in Aldeburgh, Suffolk.

This school, which again was private and fee-paying, catered for older girls who had already gone through the elementary education system and was particularly renowned for the arts when Ethel took it over, which would have suited her perfectly. She ran the school with a full complement of female staff, and appears to have relished teaching older girls again. The outbreak of war in 1939 shows that she was also an air raid warden as part of her role in the school and the local community.

The school decided to move from Aldeburgh – which was on the coast and probably directly under the flight path of German aircraft from the continent – to a priory in Mountnessing, Essex, in 1940. This would have been a quieter location, with less disturbance from the war, and more rural for protection. It is unclear whether Ethel went with them, however, as records were scarcely kept during the conflict. In 1943 she did step down and took a degree of retirement.

She moved to Cheltenham in Gloucestershire for the last bit of the war, becoming housemistress for St Helen’s, one of the boarding houses of Cheltenham Ladies College – another prestigious seat of female education. It is unclear whether she took a teaching role at the college in the way that modern housemistresses do, but she had a full time role looking after the pupils assigned to her care and took on a role of district commissioner for the girl guides at the school for the benefit of the girls. As part of this she gave various prominent talks and organised events on the guides behalf. She also worked coaching the choir.

guides 1940s

Around 1953, she left Cheltenham and again headed to the coast – but this time to Devon. She lived in Colyton, on the county’s southern edge, in a church cottage, and spent seven years in retirement. She died there, leaving her money to a nephew – the son of her eldest brother – and Violet, Baroness Merthyr, another prominent girl guiding commissioner.