Divas in Transit

Stories of extraordinary international performers in Australia from the J.C. Williamson Collection

In 1976, the final curtain fell on the last performance staged by J.C. Williamson Theatres Ltd. Named after its founder, American actor and theatre entrepreneur James Cassius Williamson (1845–1913), for almost a century this was one of the largest commercial theatre empires in the world.

J.C. Williamson, c.1874

J.C. Williamson, c.1874

After Williamson's death in 1913, five Australian brothers took the reins when concert and film promotion company J. & N. Tait merged with J.C. Williamson Ltd in 1920. Together the Taits - Charles, John, Nevin, E.J. and Frank - solidified the status of J.C. Williamson Ltd as the dominant theatrical management in Australia and New Zealand. Known affectionately as 'The Firm', the company owned or leased many major theatres including the Comedy Theatre in Melbourne, and Her Majesty’s Theatres in Melbourne, Sydney and Adelaide. A London arm of the business provided access to the latest productions and leading performers, enabling the company to contract international acts and extravagant shows for crowded Australian theatres.

Following the closure of J.C. Williamson Ltd in the 1970s, thousands of items were rescued from the Melbourne offices at the Comedy Theatre and old stores behind Her Majesty's Theatre. With the support of Lady Viola Tait (1911–2002), former soprano and wife of Sir Frank Tait, these records were donated to the Australian Performing Arts Collection. This archive laid the foundation for the Collection, and holds many stories of the people and productions in Australian performing arts history.

Since the initial donation, descendants of the Tait brothers have generously contributed towards the preservation of this vast and significant company collection.

Lady Viola Tait (née Wilson) as Josephine in 'H.M.S. Pinafore', c.1940

Lady Viola Tait (née Wilson) as Josephine in 'H.M.S. Pinafore', c.1940

The tours of international female stars are intrinsically tied to the company's legacy. These women were groundbreaking in their craft and behind the scenes, during a period when women had minimal power in society and in the theatre. They rose up through their determination and creative independence that captivated Australian audiences and performers alike.

Curator Bella Chwasta explores the stories of four performers who helped weave Australia's cultural fabric and inspired new generations of women to take to the stage.

Dangerous Woman

Maggie Moore, J.C. Williamson and Struck Oil

Head and shoulder portrait of a woman wearing a hat, dangling earrings and jewellery. Photo stuck inside scrapbook.

American actress, singer, and producer Margaret Sullivan (1851–1926), known by her stage name Maggie Moore, made a significant yet understated impact on Australian theatre. She was a versatile performer across drama, comedy, pantomime, and comic opera, who also had ambition for creative control.

Head and shoulders portrait of a woman wearing a dress with a square neckline. Photo is framed in an oval window on a cabinet card.

Cabinet card featuring Maggie Moore, c.1880

'…she could take the simplest songs and turn them by the magic of her art into seeming masterpieces of comedy or pathos.'
The Argus, 1924

Born in San Francisco, Moore began singing at 8 years old and established a career in the booming American vaudeville era. In 1873, she married J.C. Williamson and the following year they were contracted by theatre entrepreneur George Coppin for an Australian tour of their new comedy-melodrama Struck Oil. The pair had already achieved considerable success with the prophetically titled play, so it seemed an ideal opportunity to try their luck on the other side of the world.

Illustration of the Theatre Royal, Melbourne, 1875

Illustration of the Theatre Royal, Melbourne, 1875

On 1 August 1874, the season opened at the Theatre Royal in Melbourne, followed by performances in Ballarat, Bendigo and Geelong, and over 40 nights at the Queen’s Theatre in Sydney. The duo were an instant hit, and the 12-week tour was extended to 15 months. Moore and Williamson then took the production to India, Egypt, and parts of Europe before returning home.

Programme for 'Struck Oil', Theatre Royal, Melbourne, 1874

Programme for 'Struck Oil', Theatre Royal, Melbourne, 1874

They returned to Melbourne in 1879 with the sole Australasian performing rights to H.M.S. Pinafore and later secured all other Gilbert and Sullivan comic operas. Moore performed many of the leading roles over the next decade, from Josephine and Buttercup in H.M.S. Pinafore, to Mabel in The Pirates of Penzance. These achievements cemented their status as leading figures in the colonial Australian theatre landscape.

Illustration of woman and man. Woman is on the left wearing a dress with an apron sitting and looking down in the left corner. The man has a beard and is wearing a suit, small hat, and coat looking towards the woman holding his left arm across his body with his index and middle finger pointing at the woman. Next to the faces of these two people are small portraits of a woman and man. Sketch is titled 'Australasian Sketcher' in ornate lettering.

Newspaper illustration of Maggie Moore and J.C. Williamson in 'Struck Oil', 1874

Cabinet card featuring Maggie Moore, c.1880

Newspaper illustration of Maggie Moore and J.C. Williamson in 'Struck Oil', 1874

Illustration of a head and shoulders portrait of a man. He is wearing a suit, shirt and tie and his head is turned to the right. Portrait is framed in an oval window. 'Mr. J.C. Williamson' written below.

Trading card featuring J.C. Williamson, c.1878

Illustration of a head and shoulders portrait of a woman. She is wearing a square-neck top with dangling earrings and hair pinned back in finger waves. Her head is turned to the left. Portrait is framed in an oval. Written below is 'Maggie Moore'.

Trading card featuring Maggie Moore, c.1878

Moore is celebrated as a performer, but she is rarely recognised for her contribution to Williamson’s fortune and success. Her influence on the company that dominated Australian theatre for over a century has been written out of history. She was not mentioned once in Williamson’s autobiography, published posthumously in 1913.

'There is no question about it, Maggie Moore laid the foundation of Williamson’s fortune. Maggie was the draw every time.'
Nellie Stewart

With no first-hand account from Moore recorded, the J.C. Williamson Collection only illuminates Williamson's side of the story. However, Moore's influence and legacy can be revealed between the lines.

'It is as Lizzie Stofel in 'Struck Oil' that Maggie Moore will be longest remembered.'
The Chronicle, South Australia, 1925

Book open with handwritten cursive writing on both pages of script dialogue.

Maggie Moore's Lizzie Stofel

Struck Oil was originally a one-act play by Irish miner Sam Smith titled The Dead, or Five Years Away, or The Pennsylvania Dutchman. Williamson purchased the rights to the manuscript for $100. He rewrote the script with American playwright Clay M. Greene and turned it into a smash hit. This revision included a new character, Lizzie Stofel, the daughter of the male protagonist, John Stofel. These were the roles made famous by Moore and Williamson.

The script for Struck Oil has been primarily attributed to Williamson and Greene. While there is little tangible evidence of Moore’s influence on Struck Oil, interviews published in newspapers at the time illuminate that she constructed some of the dialogue and narrative. She was also instrumental in selecting the play for the couple's first tour, as she believed it would pander to the humour of Australian audiences.

On a return tour to Australia in 1918, Moore confirmed that the character of Lizzie Stofel was 'always my own creation'. By then, she had performed the role almost 9,000 times over a 50-year period, and the character had evolved with her theatrical career. Moore developed and performed new musical numbers throughout the play and the famous actress as Lizzie became a drawcard for audiences.

Front page of script bound with string and titled 'Struck Oil / Act II' in handwritten block letters on white stick in centre of front cover.

First page of script open. Title 'Struck Oil / Act II' handwritten in block letters on right page.

Open pages of script. Handwritten text on both pages.

Open pages of script. Handwritten text on right page.

Open pages of script. Handwritten text of script on right page. Notes on left page.

Struck Conflict

Less than 10 years after Moore and Williamson had established themselves as the most powerful theatrical couple in Australia, the duo's relationship soured and they separated in 1891.

Portrait of woman from head to bottom of her knees. She is wearing a dress with puffy shoulders and white-frilled neckline and cuffs, and a small hat on the left side of her head. She is smiling without teeth at the camera. The woman is surrounded by ferns, rocks, branches, and is resting her forearms on a small fence-like structure. There is a piece of cloth wrapped up like a rucksack handing from the fence. Photo is stuck in scrapbook. 'Miss Maggie Moore' is handwritten in cursive writing down the bottom of the image.

Maggie Moore, 1891

Moore formed her own company and continued to entertain Australian audiences with new interpretations of Shakespeare’s As You Like It, the popular melodrama The Silver King, and Gilbert and Sullivan classics.

Programme for 'Little Jack Sheppard', The Maggie Moore Dramatic and Burlesque Company, 1894

Programme for 'Little Jack Sheppard', The Maggie Moore Dramatic and Burlesque Company, 1894

In 1893, Moore leased the Theatre Royal in Melbourne to stage a revival of Struck Oil. Enraged by Moore’s actions, Williamson was adamant that he had sole ownership of the production, and that Moore was violating copyright.

In February 1894, Williamson sent a letter to his solicitors, Lynch and McDonald, outlining his displeasure:

'It is quite consistent with Mrs W’s general line of conduct for her to persist in producing the piece in Melbourne in defiance of my legal and moral rights, and probably relying upon my reluctance to drag our private affairs before the public… I cannot, absolutely cannot, afford to have my last valuable asset as an actor taken from me'.

Letter from J.C. Williamson to Lynch and McDonald, 1894

Letter from J.C. Williamson to Lynch and McDonald, 1894

Maggie Moore, 1891

Photograph of woman sitting. She is wearing a dress with a rope corset at the front, and sleeves rolled up to her elbows. She is wearing a straw hat with four black and white flowers on the right of the brim. Her hands are in her lap and she is smiling at the camera. Photograph is cut out from a newspaper and stuck into a scrapbook.

Maggie Moore, c.1890

Williamson signed off this letter with a phrase that encapsulates his views towards his estranged wife:

'Remember she is a dangerous woman as she is apparently so plausible and genuine...'

However, there was doubt that Moore was defying Williamson's legal and moral rights.

Close-up view of landscape letter showing the quote.

Lynch and McDonald sent a letter to Moore requesting she withdraw advertising for the season. After a second attempt at contacting her with the threat of legal action, Moore replied with a short and cordial statement:

'Am sorry to have troubled you with writing me, but as I informed you at the office, I intend playing Struck Oil during my present season'.

Despite Williamson's reservations about publicising his private life, on 2 March 1894 his lawyers filed an interim injunction in Melbourne’s Supreme Court to prevent Moore from staging Struck Oil anywhere in Victoria. The very play that had established Williamson’s fame and fortune was now at the forefront of a legal dispute.

The injunction was denied by the Chief Justice. He argued that because the couple were still legally married, Moore did not have any separate property from Williamson and therefore could not be sued by her husband.

'The wife is nobody in the eye of the law unless she has property. The wife is the husband.'
Chief Justice

In an era when women were stripped of all their individual rights once married, Moore turned the tables on Australian society's patriarchal constraints. Her marital status as Williamson's wife was paradoxically her creative and financial silver bullet.

Moore proceeded to perform Struck Oil to a full house at the Theatre Royal and received applause as rapturous as when she first performed there almost 20 years earlier.

Although Williamson registered copyright ownership of the script in Victoria in September 1894, Struck Oil and the role of Lizzie Stofel ultimately belonged to Moore. She divorced Williamson in 1899 and continued to perform the play to adoring audiences until her final performance in Australia in 1924. Williamson never staged the play again.

Front cover of early twentieth century programme featuring a portrait of a woman in the centre. She is wearing a large feathered headdress with an off-the shoulder costume. She is looking at the camera.

Programme for 'Struck Oil', Gaiety Theatre, Melbourne, 1902

Yellow, single page, nineteenth century programme.

Programme for 'Struck Oil', Her Majesty's Theatre, Melbourne, 1893

Programme for 'Struck Oil', Gaiety Theatre, Melbourne, 1902

'Struck Oil and Miss Maggie Moore are perennial and inseparable.'
The Sydney Mail, 1893

Open early twentieth century programme. Shows head and shoulders portrait of woman on the right hand page. She is wearing a bonnet-style hat tied with a ribbon at her chin. She is looking at the camera. Portrait is surrounded by text advertisements for florists, sweets, bread, and men's tailoring.

The Divine Sarah

Sarah Bernhardt's 1891 Australian tour

Portrait of a woman from her head to just amove her ankle. She is wearing a theatre costume. The costume is floor-length with vertical stripes and a thick fabric belt that is tied around her waist. She is holding a small bouquet of flowers in her right hand and is looking pensive at the camera. She has curly hair and is wearing a small headdress. Portrait is stuck in a scrapbook that is decorated with hand-drawn foliage in blue pen.

French actress and producer Sarah Bernhardt (1844–1923) was one of the most famous performers in the world when she arrived in Australia in 1891. With the nickname of 'The Divine Sarah' bestowed on her by Oscar Wilde, Bernhardt played a pivotal role in increasing the artistic freedom of women on stage in the 19th century. She remains one of the most influential stage performers in history.

Born Henriette Rosine Bernard in Paris, the diva made her stage debut in 1862 and rose to fame through her melodramatic, gender-bending performances. Known for her scandalous lifestyle and electrifying talent, Bernhardt charmed audiences all over the world with her eccentricities both on and off the stage. Her career spanned over 50 years and outlasted all of her contemporaries. She was involved in all facets of theatre-making, including set supervision and costume design for her productions.

Sarah Bernhardt as Cleopatra, 1891

Brought to Australia by Williamson and his business partner at the time, Arthur Garner, Bernhardt was one of the first internationally recognised and innovative female performers to set foot on Australian shores. She pioneered new and exciting interpretations of characters, which were both embraced and rejected by audiences.

Bernhardt's most celebrated roles were tragic heroines such as Marguerite Gautier in La Dame aux Camélias (The Lady of the Camelias or Camille) by Alexandre Dumas, which she made famous on the stage and screen. The title roles of Fedora and La Tosca were written especially for her by French playwright and dramatist Victorien Sardou. Bernhardt also regularly played traditionally male roles and became the first female actress to perform Shakespeare’s Hamlet on film in 1900.

At 47 years old, Bernhardt was booked to tour Melbourne, Sydney and Adelaide for 11 weeks. Despite rumours of illness that cast doubts on her arrival, Bernhardt docked in Sydney on 27 May 1891 aboard the R.M.S Monowai, along with the 40 members of her company, almost 200 tonnes of luggage containing costumes and scenery, and her pet dogs. This excess was just one part of her idiosyncratic personality; she reportedly travelled with a coffin that, supposedly, she slept in.

Cigarette card of a head and shoulders portrait of a woman. She is wearing a flowy white costume with an ornate embroidered neckline. Her headdress is made out of jewelled flowers on either side of her head, with a crown in the middle. She is faced directly towards the camera with her eyes looking up with a powerful facial expression. 'Ogden's Cigarettes' in block letters underneath the portrait.

Sarah Bernhardt, c.1890

Bernhardt received a warm welcome with baskets of flowers and exquisite bouquets, and champagne, followed by an extravagant event held at the Sydney Town Hall hosted by the Mayor. When asked about her politics in front of several hundred guests, she replied: '… an artiste has no politics. I leave such matters to the consideration of men'.

Despite this comment, Bernhardt was influential politically through her transgressive performances on stage and her impact on the rise of celebrity culture.

Sarah Bernhardt as Cleopatra, 1891

Sarah Bernhardt, c.1890

Sarah Bernhardt, 1898

Sarah Bernhardt, 1898

Sarah Bernhardt, c.1885

Sarah Bernhardt, c.1885

Sarah Bernhardt as Hamlet, 1899

Sarah Bernhardt as Hamlet, 1899

The Bernhardt Effect

In response to the hype and anticipation for Bernhardt's season, her manager ordered that a selection of opening night tickets in the dress circle and stalls to be sold by auction. Ticket auctions and 'scalpers' were new concepts introduced to Australia from American theatre. Some tickets for the Bernhardt season sold for as much as £13 (approximately £2500 today). Newspapers predicted that ticket scalpers were a one-off response to the hysteria of the season.

An example of this fan frenzy was recorded in a scrapbook collected by Lady Tait, which documents one of Bernhardt's performances in La Tosca, staged at the Princess Theatre in Melbourne.

This personal scrapbook reveals a first-hand account of excitement amongst audiences to witness the divine diva on stage.

This audience member had a front seat in the gallery and described Bernhardt's performance as 'A Masterpiece'.

The writer recalled the exhilaration at the theatre's ticket box and had 'performed some acrobatic feats on the stairs' in the attempt to witness Bernhardt on stage. They eventually succeeded in obtaining tickets after nearly losing half a coat!

While brief, accounts like these paint a rich picture of the mania Bernhardt created amongst Australian audiences during her tour.

Full body portrait of a woman. She is sitting on a fabric striped couch wearing a flowy white theatre costume and feather boa. She is looking down towards the bottom right corner of the frame and her right hand is placed on the arm o the couch. Photograph is stuck onto scrapbook page. The photograph is decorated with a hand drawn lined border in blue pen. 'Madame Sarah Bernhardt' inscribed in blue pen at base of photograph.

Sarah Bernhardt, 1891

Front cover of nineteenth century script.

Collectable script for 'La Dame aux Camélias', The Bernhardt Edition, 1890

Portrait of a woman. She is crouched down, only her head, and shoulders are in frame. Her body is turned to the left, with her head facing the camera and her right arm folded with her right hand on her chin covering her mouth. She is wearing a striped theatre costume with a small headdress. She is looking direcrtly at the camera. Photo is in an oval frame, bordereed by swirly motifs on each corner.

Sarah Bernhardt as Cleopatra, 1891

The Empress of the Theatre

A highlight of Bernhardt's tour was her captivating performance in La Dame aux Camélias. In Sydney, her self-designed costumes were described as works of art made from brocade and Chinese silk in soft colours – lemon, cream and pink – draped upon her graceful figure. Seemingly simple and classic, these costumes allowed Bernhardt's performance to shine on stage.

Following the theatrical death of her character, the diva was met with 'unparalleled enthusiasm of the audience and tumultuous applause'. She replied: 'I protest you are too kind. Still if you will have it so I must accept your homage. Take in return the artist. The best she has to give is yours, wholly and unreservedly'.

Sarah Bernhardt, 1891

Limited to only 24 evening performances and four matinees, Bernhardt’s season was still not finalised when she arrived in Australia. She eclipsed the public's expectation by performing many of her beloved characters, but entirely in French. She nonetheless captivated the crowd with her exaggerated facial expressions, emotive voice, and magnetic stage presence, which was described as being spontaneous and impulsive.

Among the many cabinet cards and souvenirs sold during the season, the only authorised items of “merchandise” were The Bernhardt Editions of her playscripts. Printed in French with corresponding English translations, these certified copies became popular collectable items which added to her popularity and fame.

Collectable script for 'La Dame aux *Camélias*', The Bernhardt Edition, 1890

Collectable script for 'La Dame Aux Camelias', The Bernhardt Edition, 1890

In addition to being a pioneer of celebrity culture and performance, Bernhardt was an inspiration to many Australian performers. She met Australia's first internationally famous soprano, Nellie Melba, in Paris in 1889 and gave her advice on the role of Marguerite in Faust, a character made famous by both divas. According to Melba, Bernhardt exclaimed: 'You sing like an angel. I want to teach you to act like an angel too'. Bernhardt also showed Melba the importance of make-up in performance, stating: 'You have no idea how to do these things. You are too innocent. Take a lesson from me, the wicked one!'

'She is the supreme example to any youngster, of what heart, perseverance and hard work can achieve. It was the great Sarah, you know, who taught me to act Marguerite.'
Dame Nellie Melba, 1922

Sarah Bernhardt as Cleopatra, 1891

Although she received praise and adoration from performers and audiences alike, not all Australians commented favourably on Bernhardt. Some critics dismissed her Cleopatra as straying too far from original interpretations. Yet this merely enhanced Bernhardt's appeal among fans and fuelled her passion for the stage. When asked to comment on being criticised, she responded: '…but I don’t mind when I am. I rather like it. It is a battle between them and me, in which I always come out best!'

The Immortal Swan

Anna Pavlova's monumental seasons in Australia

Head and shoulders portrait of a woman with a large tutu-like skirt filling up most of the frame. She is twisted to the left with her arms folded and her right hand raised up next the left side of her face. The white dress is off the shoulder with puffy sleeves, covered in black sheer tulle. Her hair is slicked into a middle-part with two small round flower headpieces near both of her ears. She is looking to the right with her face in full view and is half-smiling.

Russian prima ballerina Anna Pavlova (1881–1931) embarked on two extravagant tours to Australia in 1926 and 1929. Almost 100 years since her first visit, Pavlova remains one of the most extraordinary and famous ballet dancers in history. Her influential tours led to the establishment of ballet as a popular artform in Australia.

Green-yellow programme, one page, showing an image of a dancer wearing a costume made of tulle with wings. The image is on the left with text on the right.

Programme for Anna Pavlova and the Ballet Russe, 1926

The news of Pavlova's first visit to Australia was rumoured in the press two years ahead of her arrival in 1926. Part of a larger international tour, the visit saw the ethereal ballerina perform in Melbourne, Sydney, Brisbane and Adelaide. Pavlova introduced modern Russian ballet to Australian audiences, who relied heavily on international tours presented by 'The Firm' for new theatrical experiences.

Card featuring Anna Pavlova and her Ballet Russe, c.1924

Card featuring Anna Pavlova and her Ballet Russe, c.1924

Formally a principal artist of the Russian Imperial Ballet, Pavlova was known for her magnificent performances in London and Paris. Like Bernhardt, she was at the height of her career and in her forties when she arrived in Australia. The season was billed as 'the most important event in theatrical history' and opened on 13 March 1926 with a sold-out gala performance at His Majesty’s Theatre, Melbourne. Avid admirers lined up hours before the box office opened at Allan’s Music on Collins Street to secure a coveted seat for the event. On arriving in Melbourne, Pavlova was met by a crowd of 10,000 people, all keen to view the world-famous dancer in the flesh.

Anna Pavlova arriving at Spencer Street Station, Melbourne, 1926

Anna Pavlova arriving at Spencer Street Station, Melbourne, 1926

Pavlova brought approximately 50 performers and eight new productions to Australia, complete with scenery, costumes, and innovative lighting. Her subsequent 1929 tour was bigger and bolder, with 146 artists and new works added.

Portrait of a woman from her head to mid-thigh. She is wearing a ballet costume. The costume is a white dress with a tulle skirt and puffy sleeves, with a flower-like decoration on her front chest. She is wearing a flower crown. Her arms are raised, elbows bent, with her hands just touching near her chin. She is looking towards the bottom left corner of the frame.

Anna Pavlova in Giselle, 1926

Although Pavlova was determined to share her talent all over the world, it was Melba who ultimately inspired her to visit Australia.

'It was Melba who told me I must come… Always she has said to me, “But you must see my Australia,” and at last I am here.'
Anna Pavlova

Programme for Anna Pavlova and the Ballet Russe, 1926

Anna Pavlova in 'Giselle', 1926

Anna Pavlova in Giselle, 1926

Full body portrait of a woman wearing a tutu dancing on stage. Her arms up raised and her hands are almost touching next to her chin on the right. She is in front of a theatre curtain. The tutu is ankle length and is spread out to almost the width of the frame. The costume is light coloured with flowers embroidered all over the costume. She is wearing ballet shoes and is en pointe.

Anna Pavlova in 'Invitation to Dance', c.1917

Double-page twentieth century advertisement for 'The Incomparable Pavlova'. Yellow-green, white and black advertisement with seven images of ballet dances. The first image on the left is a woman wearing a tutu holding her arms up either side with her feet en pointe. The second image is below the first image, and features three dances on stage. Two of the dances are crouched on the left and are wearing ruffled clown-like costumes, and are looking towards the third person on the right who is wearing a tutu and bending down to the right. Third image is a close-up portrait of a woman's face framed in a small circle. She is looking to the right of the camera and a portion of the right-bottom side of her face is covered with her jacket collar. The forth image is in the centre of the advertisement, and is a photograph of a woman wearing a tutu en point, with her arms stretch out on either side of her body. Her tutu ends at her knees and features ruffles in black and white fabrit, a checkered bodice, and ruffles on the sleeves. Her face is turned to the left. The fifth image is a head-shot portrait of a woman in a circle frame. She is looking up above the camera and is wearing a white headdress. The sixth image is a landscape portrait of 5 dances, posing in various positions and wearing medieval style costumes. The seventh photo is a full-length image of a ballet dancer. She is wearing a white tutu with her arms and hands crossed up against her chest, her feel en pointe, and her head tilted to the left. The image is framed in an oval.

Full length portrait of a ballet dancer. She is wearing a white tutu made of tules and ruffles. She has her arms crossed on her chest and her feet are en pointe. She is wearing dark make up on her eyes and lips, and her head is tilted to the left. Her face is slightly angled to the left, and she is wearing a white headdress. She is in front of a black background.

Anna Pavlova in 'Le Cygne' (The Dying Swan), c.1910

The Greatest Dancer of All Time

Pavlova was known for her grace and charm. She was mesmerising on stage and audiences were enthralled by her repertoire. From her rendition of the romantic ballet Giselle, to the one-act Amarilla, and Josef Bayer's magical The Fairy Doll, Pavlova opened up a new world of possibilities for ballet in Australia.

Anna Pavlova in 'Le Cygne' (The Dying Swan), c.1910

Pavlova's company was the first to present Don Quixote outside Russia, a ballet that has become a quintessential part of The Australian Ballet's repertoire.

Handwritten programme for Anna Pavlova tour, Melbourne, 1929

Handwritten programme for Anna Pavlova tour, Melbourne, 1929

While Pavlova made many of these productions popular, it was her inimitable divertissement, The Dying Swan, that transfixed Australian audiences. Created for her by choreographer Mikhail Fokine in 1907, with music by Camille Saint-Saëns, this four-minute dance became synonymous with Pavlova. Legend has it that on her deathbed in 1931, she turned to her maid and declared: 'Get my swan costume ready'.

Early twentieth century theatre advertisement poster. Poster of a ballerina dancing. She is wearing a tutu and her feet are en pointe, with her hands up in the air to the right. Her head is tilted back to the left. Image almost looks like she is a shadow. 'PAVLOVA' written in red bold text above, 'THE GREATEST DANCER OF ALL TIME' writted in red bold text below image.

Poster for Anna Pavlova, 1926

The Incomparable Pavlova, 1926

Pavlova was a muse for many composers and choreographers, yet she also arranged her own ballets. The allegorical work Autumn Leaves captivated Australian audiences and was considered one of Pavlova's most ambitious and beautiful dances.

Full length photograph of woman. She is a dancer dressed in tutu that is made from strips of fabric. She is kneeling with her right leg crossing her body to the left, with her right foot en point. Her arms are draped to either side, and her head is tilted to the left and she is looking towards her right foot. Inscribed with the photographer's signature on the bottom-left of the image.

Anna Pavlova as the Chrysanthemum in 'Autumn Leaves', c.1926

First performed in Rio de Janeiro in 1918, the narrative followed the life of a Chrysanthemum bloom – performed by Pavlova – torn from the arms of the Poet by the North Wind. This was set to two popular compositions by Polish-French composer Frédéric Chopin: the dramatic ‘Fantaisie-Impromptu’ and the poignant ‘Nocturne’ in F-sharp minor. Described as a 'Choreographic Poem in One Act', this work received outstanding reviews in Australia, with many claiming Pavlova's mystical presence remained on stage long after the curtain fell.

'What exactly is success? For me it is to be found not in applause, but in the satisfaction of feeling that one is realising one’s idea.'
Anna Pavlova

Anna Pavlova as the Chrysanthemum in 'Autumn Leaves', c.1926

Full length portrait of woman. She is a ballet dancer in her dressing room. She is sitting on a chair in the middle of the image, with her left leg stretched out en pointe and her right leg crossed over her left leg. She is wearing a white dress, stockings, and a sheer shawl draped over her shoulders. She is looking to the left of the camera. She is surrounded by eight pairs of pointe shoes on the floor, as well as boxes, luggage, and a candlestick sitting on a dressing table on the right of the image. Behind her is an early twentieth century theatre poster. The shot is brightly lit, showing shadows behind her. She is slightly smiling, with her left arm draped over her right leg.

Anna Pavlova in her dressing room at the Théâtre des Champs-Élysées, Paris, c.1920

Passion and Devotion

Pavlova was not only renowned for her artistry and technique on stage; her personality and a strong work ethic also contributed to the dancer's star power.

Anna Pavlova in her dressing room at the Théâtre des Champs-Élysées, Paris, c.1920

'A true artist must devote herself wholly to her art and had no right to lead the life most women long for…'
Anna Pavlova

Her modest, effortless beauty was paired with her determination and hard work. Interviews with Pavlova revealed she never cancelled a performance and that she practiced in front of a mirror for five hours a day prior to opening nights. Other reports claimed she worked as many as 16-hours a day. According to Pavlova, she was 'the hardest worked woman in the world'.

Photograph of a round metal chocolate box from the early twentieth century. The chocolate box is yellow with an image of a ballet dancer on the top. She is wearing a flowy knee-length dress and wings, and appears to be jumping in the air with her arms stretched up and out to the side. Her head is tilted to the right and she is half-smiling. There is an inscription on the bottom left: "The Pavlova Box of de LUX "Old Gold" Chocolates. MacRobertson. Melbourne, Australia. 1b.Nett. Signed by Anna Pavlova across the image of the ballet dancer.

A Diva's Delight

The influence of mass media and technological change in the roaring 1920s saw performers transform into powerful brands. Their star appeal was used to endorse commercial products and connect with consumers.

For Pavlova’s Australian tours, the nation's largest confectionery company at the time, MacRobertson Ltd, sold chocolates presented in a limited-edition box. Known colloquially as the 'Anna Pavlova specials', these were sold at theatres and local sweet stores during her tours. Fans could even leave their purchased chocolates at the theatre box office for Pavlova to sign.

Advertisement for Special Pavlova Boxes of de luxe Old Gold Chocolates, c.1929

Advertisement for Special Pavlova Boxes of de luxe Old Gold Chocolates, c.1929

The chocolate box became a tangible memento of Pavlova's fleeting tours and an example of collaborations between visiting stars and local brands. Similar arrangements continue today with brand collaborations and merchandise sold by pop stars and other internationally renowned performers.

Flattened wrapper for wafer chocolates. Brown, green and blue with illustration of ballet dancer in the middle. She is wearing a cream flowy costume with wings, and her feet are stretched out at hip distance as though shes leaping through the air. Her left arm is reaching above her head holding onto her left wing, and her right arm is stretched out diagonally down on the right. She is looking towards the left. She is framed in an oval frame with ullustrations of green leaves on either side. "Swallow & Ariell's Pavlova Wafers" are printed on either side of the image of the dancer, "Pavlova Wafers" printed below the image.

Grand Opera Diva

Toti Dal Monte and the Melba-Williamson Grand Opera Company

Head and shoulders portrait of a woman. She is wearing a tall headdress made of lace that fans out across to each of her ears. She is wearing a lace bodice. She has curly hair and is looking directly at the camera with a serious look on her face.

Nellie Melba, Melbourne's own opera diva, wielded her power behind the scenes with J.C. Williamson Ltd to present the best operatic performers to Australian audiences. Having established an illustrious career abroad, Melba partnered with Williamson's for three Grand Opera Seasons over 15 years in 1911, 1924 and 1928. This collaboration was one of the most extravagant enterprises in Australian entertainment in the early 20th century.

Dame Nellie Melba as Desdemona in 'Otello', 1924

Dame Nellie Melba as Desdemona in 'Otello', 1924

Referred to in the press as 'Dame Nellie Melba, producer!', her international status secured some of Europe's best performers who travelled the extraordinary distance to Australia to perform as principals in the company.

'Dame Nellie Melba and the Williamson firm have done a great service to this country in their present venture; and it is good to know that their efforts in the cause of Australian artistic development have met with remarkable success.'
The Home: An Australian Quarterly, 1924

For the 1924 season, Melba and director Nevin Tait travelled to the opera capitals of Europe including Milan, Rome, Paris, Madrid, Vienna, and Naples, to recruit for the company. They selected early career Italian prima donnas who were equipped to perform both signature repertoire and new productions. Among those chosen was emerging star Signorina Toti Dal Monte.

Poster for Williamson-Melba Grand Opera Company, Wagga Wagga, 1924

Poster for Williamson-Melba Grand Opera Company, Wagga Wagga, 1924

Head and shoulders portrait of a woman. She is wearing a tall headdress made of lace that fans out above her head. She is turned to the left and is looking down.

Head and shoulders portrait of a woman. She is wearing a tall headdress made of lace that fans out above her head on either side of her ears. She is facing towards the camera with her head tilted to the left and is looking towards the right. She is smiling. Hand written signature covers some of her chin and bottom-half of her face in blue cursive writing.

Toti Dal Monte in 'La Sonnambula', 1924

Full length portrait of a woman. She is wearing a floor-length hooded robe and is slightly right of frame. Her eyes are closed and she has a sombre expression. Underneath the image is 'Toti Dal Monte' written in black cursive writing.

Toti Dal Monte, 1924

Magnificent Monte

The young coloratura soprano, born Antonietta Meneghel (1893–1975), studied singing at the Naples Conservatory before making a successful debut at Milan's La Scala in 1923. Before her first performances in London and Paris, the same year, Toti Dal Monte signed with the Melba-Williamson company.

E.J. Tait (left) and Toti Dal Monte, c.1928

E.J. Tait (left) and Toti Dal Monte, c.1928

The 1924 season opened at His Majesty’s Theatre in Melbourne, where Melba introduced the young singer to Australian audiences. Dal Monte's performance of the mad scene in Lucia Di Lammermoor – a role closely associated with Melba – was met with triumphant applause on opening night.

'I am a proud woman tonight… because it is in a little measure through me that this great artist has come here.'
Dame Nellie Melba

Toti Dal Monte, 1924

The Italian diva's newly acquired stardom in Australia was attributed to her vocal prowess, dramatic performances, and charming personality. She made a name for herself in performances of Gaetano Donizetti’s La Fille du Régiment (The Daughter of the Regiment) and Vincenzo Bellini’s La Sonnambula.

'The role which takes… the most out of me is Sonnambula. When I sing I am actually the person for the time being. I live the role, so to speak.'
Toti Dal Monte

Dal Monte was paid over £148 per performance during the 1924 season, an amount that eclipsed the salaries of all other performers in the company. By the 1928 season, Dal Monte received £675 per week, which reflected her star status.

Toti Dal Monte in 'La Fille du Régiment', c.1924

Toti Dal Monte in 'La Fille du Régiment', c.1924

The success of the Melba-Williamson opera seasons in the 1920s can be attributed to both Dal Monte's rising stardom, and Melba's unparalleled experience and global fame. Dal Monte became Melba's protégé and their relationship was marked by mutual adoration and respect. They would attend each other's performances and throw bouquets on stage during standing ovations.

The Grandeur

As well as impressive performers, the Melba-Williamson Grand Opera Company presented the finest scenery and costumes on stages around Australia and New Zealand. The company toured to all major cities, but also smaller towns including Wagga Wagga and Toowoomba.

Financial and business documents in the J.C. Williamson Collection illuminate the costs associated with staging opera seasons of this calibre. The 1911 season cost at least £55,000, and exceeded £250,000 by the final tour in 1928. Melba received almost half of the profits for the 1911 and 1924 seasons.

In 1924, the properties showcased on the seven-month tour were all transported from Italy to Australia. They included 3,000 kilograms of jewellery, plants, carts, vases, and instruments. A total of 1,569 costumes were made by the prestigious Italian fashion house Sartoria Teatrale Chiappa, the designers for La Scala's productions. These costumes were seen on stage for operas including the Australian premiere of Umberto Giordano’s Andrea Chénier, Jacques Offenbach's The Tales of Hoffmann, and special appearances by Melba performing her celebrated excerpts from La Bohème, Faust and Otello.

Handwritten list of properties ordered for production. Cursive writing on lined paper.

Photograph of 20 female performers on stage. They are all wearing ornate embroidered costumes with headdresses and headbands, looking directly at the camera. Toti Dal Monte is in the middle. She is wearing a floor-length tiered ruffle dress with a peter-pan neckline and large bonnet hat. Her hand are up at around her waist with her palms open. She is half smiling at the camera.

Titina the Tailless Toy Terrier

Toti Dal Monte was adored by Australian audiences, both on and off the stage. Her beloved dog and mascot, a tailless toy English terrier named Titina, became a crowd and company favourite during the 1928 season.

Portrait photograph of woman. She is wearing a sleeveless dress embroidered with jewel and sequinned embellishments and is wearing pearl necklaces, a pearl bracelet, and diamond watch. She is smiling and looking just above the camera. Her hair is pinned back and she is wearing dangling earrings. To her left she is holding a small dog. The dog is wearing a pearl collar and is looking to the right of the camera.

Toti Dal Monte and Titina, 1928

Cherished by the cast and crew, Titina was made an unofficial member of the company and resided at His Majesty’s Theatre in Melbourne. Titina caused delightful chaos in the wardrobe department and, according to humorous newspaper reports, was 'ready to take his part in The Daughter of the Regiment or The Barber of Seville.'

Memo regarding travel and quarantine arrangements for Toti Dal Monte's dog, 1928

Memo regarding travel and quarantine arrangements for Toti Dal Monte's dog, 1928

'There are thousands of other toy dogs in Australia who would give all they own for a slice of the good luck that has fallen to Titina.'
The Daily Telegraph, 1928

Toti Dal Monte and Titina, 1928

Photograph of audience in a theatre. Three tiers of a packed theatre.

Full length portrait of a married couple. Woman on the left is in a white bridal gown just above the ankle. The dress is long-sleeve and features embroidery on the bodice. She is wearing a bonnet headdress and veil draped around her shoulders that spills out on the floor in front of her. She is holding a large bouquet of flowers. The man on her right is wearing a suit and top hat. He is holding white gloves in his right hand. They are both looking at the camera and are standing on a persian-style rig with floral and geometric patterns. 'Toti Dal Monte Enzo de Muro Lomato Sydney 1928' signed using black pen over the front of the photograph.

Toti Dal Monte and Enzo de Muro Lomato, Sydney, 1928

The Marriage of the Season

Dal Monte's established stardom in Australia was confirmed through the public's dramatic response to her wedding. On 23 August 1928, crowds gathered in Sydney to catch a glimpse of the diva's marriage to fellow principal artist, tenor Enzo de Muro Lomanto. The couple's romance had bloomed on the long voyage from Europe to Australia.

Toti Dal Monte and Enzo de Muro Lomato, Sydney, 1928

Amid the highly acclaimed opera season, the ceremony took place opposite Hyde Park at St Mary’s Cathedral. Reports claimed that 25,000 fans waited outside the church for over two hours before the bride was due to arrive, and between 4,000 to 6,000 wedding guests congregated inside the cathedral doors. The Chief Commissioner of Police established a large police presence to direct traffic, and barricades were erected for crowd control.

The prima donna arrived in a wedding gown constructed from over 14-metres of 'old and rare' Chantilly lace, with a five-metre train trailing behind. Her ninon headdress referenced the costume she wore as Marguerite in Faust.

'For one instant she glimpsed 25,000 heads, hats, and handkerchiefs fluttering and swirling down upon her; then she fled up the narrow carpet.'
The Sydney Morning Herald, 1928

The wedding was the event of the opera season. The matinee performance of Lohengrin was rescheduled to allow the artists to attend, and Nevin Tait walked the bride down the aisle. The wedding party included Charles Tait and fellow prima donna Lina Scavizzi. The ceremony was broadcast on radio stations 3LO and 2FC, which allowed listeners all over the country to experience the momentous occasion.

During her time in Australia, Toti Dal Monte's private and public life became intertwined. She was a sensation of the opera stage and an early 20th-century example of celebrity worship by fans across Australia.

'The first rule in opera is the first rule in life: see to everything yourself.'
Dame Nellie Melba

Handwritten list of production names. Written in cursive handwriting is black pen on lined paper.

CREDITS

This project has been made possible through generous philanthropic support of the living descendants of the Tait brothers. We gratefully acknowledge their unwavering dedication in making the J.C. Williamson Collection publicly accessible to inspire future generations.

The Australian Performing Arts Collection thanks the following donors: Mr Charles Tegner, Mr Nigel Tait, Mrs Sally Bell, Ms Isla Baring OAM, Sandra Forbes, and Mrs Caroline Shaw.

We also extend our thanks to Ann Seddon and Isla Shaw.

With special thanks to the following Collections and Exhibitions team members: Margot Anderson, Sandra Bruce, Carmela Lonetti, Loren Maganja, Margaret Marshall, and Fiona Wilson.

The exhibition, DIVA, is now showing at the Australian Museum of Performing Arts (AMPA). Find out more and book tickets here.

All items are from the Australian Performing Arts Collection, Arts Centre Melbourne.