Florence Young- The
Queen of Australian Comic Opera
Born Victoria
Australia 1871 Died Australia November 11 1920
Florence Maud Young was the daughter of Henry Henrard Young
and Elizabeth, (nee Tonkin). She was born in 1871 on the corner of Exhibition
and Collins Streets Melbourne, and her father was a jeweller. She had several
brothers and sisters including Gladys and Fred who followed her into the
theatrical profession.
Florence was a solidly built young woman with deep brown
eyes and dark hair. She grew up in the city as a respectable middle class girl.
However, Florence had ambitions that did not fit with her father’s idea of
respectability.
One day in 1890 whilst her father was away, Florence
approached Mr Plumpton the conductor of the George Musgrove-Nellie Stewart
company. She had seen the company’s production of ‘Paul Jones’ at least
fourteen times and asked to try out.
She sang a song from the musical at the conductor’s home
and Mr Plumpton recommended that she perform for Nellie Stewart at the theatre.
Being an audacious young woman, the nineteen year old sang one of Nellie’s favorite
songs to her. Miss Stewart was magnanimous and Florence was hired. Paul Jones was to remain one of her
favorite pieces.
Florence’s first appearance was in July 1890 as ‘Beatrice’
in Boccaccio. She appeared for
three weeks. Then the company moved to Sydney leaving Florence behind.
Florence was a direct and forthright woman and she was
determined to be a singer. In November 1890 she approached Mr Bracey of the
famous J C Williamson Comic Opera Company. The company was performing at the
Princess Theatre in Melbourne.
One day whilst Florence was passing the theatre, she
walked in and asked if there was any work. Luckily, Mr Garner, a JC Williamson
manager, was inside and after hearing her sing, gave her the role of Casilda in
the Gondeliers.
Thus began the career of one of Australia’s most beloved
comic opera singers. From that November 1890, Florence, known at this stage of
her career as ‘Florrie’ became a regular performer with the Royal Comic Opera
Company.
The company was the cream of Australian musical comedy. It
included well known actresses such as Flora Graupner, and featured the finest
singing talent in the country. They were the JC Williamson elite. The company
constantly toured the colony in various guises for at least twenty years. It
launched the careers of George Lauri, Carrie Moore and many others who became
household names in Australia and overseas.
The life of a member of the company was strenuous and
hectic. It involved constant travelling in addition to continual rehearsal and
study of new parts.
By 1892, Florence was being noticed for her roles with the
company. In July, The Referee newspaper
noted that “Miss Florence Young has a prepossessing appearance and improves
upon acquaintance”. By September it was calling her “a charming Casilda” and
noting that her duet with Mr Sydney Deane had to be repeated.
The 1895 Royal Comic Opera season in Sydney was typical of
the company’s busy schedule. In the last sixteen nights of their stay in the
city, they played four different musicals. These included ‘Mam’zelle Nitouche’, ‘An Arcadian Eve’, ‘Dorothy’
and’ Paul Jones’. Florence
played a part in each production. It was a routine designed to produce artists
of stamina and versatility.
Florence showed both traits when her performances in
musicals were complemented by performances in pantomime. In 1896 she appeared
in tights as the prince in ‘Djin Djin’.Flora
Graupner was the diva of the Royal Comic Opera Company, but Florence Young was
quickly catching up to her in popularity.
By 1897 Florrie was well known in the Australian theatrical
world. She was a popular and critical success in both Melbourne and Sydney and
was also recognised as one of Australia’s pre-eminent singers. In March that
year she played in ‘Matsa’ the
JC Williamson pantomime in Sydney. Joined by George Lauri, Florrie was a hit.
She was travelling to London after the close of the show
and it was a measure of her popularity with audience and cast that a benefit
night was arranged for her.
Before ‘Matsa’s’
run in Sydney, Florrie had taken another major step in her life, she
had married. The groom was Mr Robert Rivington, a man of independent means. The
two married in Melbourne early in 1897.
After her marriage Florrie intended to settle into private
life and she travelled to England. However her old friends, George Musgrove and
Nellie Stewart lured her back to the stage to appear in the JC Williamson
London venture, The Scarlet Feather.
The show was produced at the Shaftesbury Theatre in December 1897. It was
enthusiastically received on the first night and Florrie gained good reviews
from the critics.
Unfortunately, The
Scarlet Feather did not enjoy a long run. Yet Florence Young had regained
her theatrical ambition and continued to perform overseas. In 1898 she
travelled to South Africa with Lockwood and Levelley and appeared in Capetown,
Johannesburg and Port Elizabeth. One of her major roles in South Africa was as
the doll in the musical La Poupee.
Florence then returned to England, where she played in
pantomime and musical comedy. She played the principal boy in Dick Whittington and had success as
the gypsy in Falka.
George Edwardes, the famous English theatrical producer,
told Florence that she had arrived in England at the wrong time. There were no
good roles for her type of voice. However, he urged her to persist, as these
roles would eventually return to favour.
Yet Florence, at the urging of Sydney impresario, Mark Foy,
made her way to Paris. There she began voice training with Melba’s teacher,
Madame Marchesi. According to Florence , Marchesi thought that her voice was
suitable for grand opera. Florence studied in Paris for almost a year. Her
studies were paid by an allowance of three pounds one shilling a month from her
father in law, Mr Rivington.
Florence’s voice was characterised by strong and clear enunciation.
Florence maintained it by incessant practice and a great deal of care and every
morning she sang scales. That way she knew the state of her voice for the whole
day. In her early career she was often reckless with her ‘instrument’ and sang
despite ill health.
After ten months with Marchesi, Florence, running out of
funds, returned to Australia. She was immediately welcomed back by JC
Williamson and the Royal Comic Opera Company. Florrie Young did not reappear in
print. Instead she was replaced by Miss Florence Young, Australia’s queen of
the comic opera stage.
The Florence Young that returned to Australia in 1901 was a
lady of vitality and charisma. Her openness and honesty were much admired
traits. Newspaper reports described Florence’s ‘unaffected cheeriness’, ‘good
nature’ and optimistic outlook. They described her as ‘incapable of pettiness
of mind’ and as having a direct, manner. She was a bustling, blunt,
good-natured woman who was popular with press and public.
The gallery boys and girls called her ‘Flo’ and she was one
of their favorites. The ‘gallery girl first nighters’ were big fans of Flo and
she regretted that ‘the demands of my time do not permit of me talking to them
as much as I would like.’ Perhaps it was her ability to reach the gallery with
her clear voice that made her popular with the gods. Regardless she had a big
following and she appreciated the kindness of her fans.
Florence was not a social woman because she was devoted
heart and soul to the theatre. In her mind it was impossible to balance an
active social life with an active theatrical career. She needed to save her
voice for the theatre rather than waste it in idle chit chat.
Unlike many of her contemporaries she was not
superstitious. Green was often thought to be an unlucky colour amongst
theatrical types. Florence often wore green on stage as if daring the fates.
She declared openly, that’ I have no superstitions.’
This was the character that reappeared in Australia in 1901
to star in the comic opera production of San
Toy. Except for a brief break in 1905, Florence would spend the rest of
her life working for J C Williamson. She was once again on the incessant
working schedule of the Comic Opera Company.
In 1905 she travelled to New York, whilst there she saw
several American plays that were not to her taste. Immediately upon her return
she was playing the lead role of Winnie in The Girl from Kays.
1906 was another typically busy year for Florence. She
played in Veronique in February
in Sydney and her ‘excellent vocalisation’ was a highlight of the disappointing
production. In 1907 she appeared in the pantomime, Mother Goose playing the principal boy. In July that year she
played a leading role in The Spring
Chicken and in August she played in Dorothy. In the revival of Dorothy, she was said to ‘have never done better’. She also
appeared in ‘La Mascotte in
Sydney that year.
During the run of these productions, Florence was sent a
menacing letter. It was a list of nine prayers with a threat that if she did
not copy one daily and send it to a friend, something dreadful would happen to
her. Florence refused to do so. Unfortunately many of her fellow players were
more superstitious, and every day she appeared in the theatre they asked if she
had said her prayers and anxiously waited to see if some disaster would befall
her.Florence refused to be intimidated and the nine days passed without
incident.
In 1908 Florence continued her hectic schedule. She
appeared in that year’s most popular musical, The Merry Widow
which starred the returning Carrie Moore as the widow. Whilst Carrie was
applauded for her strong starring role, The
Referee said that ‘Miss Young musically was the success of the piece.’
Her duets with Reginald Roberts were singled out for praise and The Merry Widow had a long run in
both Sydney and Melbourne.
Another major appearance that year was in ‘The Lady Dandies,’ a Royal Comic
Opera production. It starred Florence, Fanny Dango, Claude Bantock and Edmund
Sherras .One song, ‘A Woman’s Way’ was written especially for Florence by
Charles Keningham. Her fame was such that it was a privilege to compose for
her.
1909 was another frantic year for Australia’s queen of
comic opera. In February, Florence appeared in the Duchess of Dantzic in Sydney. In early March she played in The Dairymaids and was praised for
her ‘charming singing of ‘A Wild Rose’. It was a mere two months after the
passing of George Lauri who had been a much loved member of the company and it
was a mark of the company’s professionalism that they could continue to perform
so successfully despite the tragedy. Within a week of "The Dairymaids’ the company produced ‘Havana’.
The quick rotation of three musicals in two months was
indicative of the fast paced production style of the Royal Comic Opera Company.
It was a style that had not changed since the 1890s. In a 1907 interview,
Florence dispelled the notion that the life of the company’s members was
glamorous, telling interviewers that members of the company could easily
collapse with the strain of rehearsing one play whilst performing another for
months at a time.
Often members of the company could not take the strain.
George Lauri’s fragile health cracked partly due to this pace. In 1908 during
the run of The Dairymaids,
Fanny Dango was replaced by Ivy Scott. The reason given was ‘the former lady
being too fatigued to appear on account of arduous rehearsals of ‘The Lady
Dandies."
In general the Royal Comic Opera Company had a high
turnover rate. It was a prestigious company, yet one which required absolute
dedication and hard work. Florence’s longevity was a testament to the lady’s
talent and her stamina.
By 1909, Florence had many personal connections to the J C
Williamson company These may have contributed to her long association with the
firm. Her sister Amelia was married to JC Williamson director George Tallis.
Sister Gladys was appearing with the Royal Comics and her brother Fred was
acting as stage manager for them.. Fred’s son was working on the theatrical
staff of Her Majesty’s Melbourne and Mr George Young and his wife Miss Erickson
were working for another JC Williamson production. The Melbourne family of a
jeweller had become established members of the theatrical community.
Florence’s career continued into the next decade. In 1910
she appeared in The Orchid.
According to The Referee, ‘Miss
Florence Young had the most cordial reception of the night."
1912 was an important year for Florence as in that year she
obtained a friendly divorce from Robert Rivington. Flo was appearing in "The Girl on the Train,’ when served
with the petition in Melbourne.
The couple had been separated for several years. According
to the petition, Florence had left her husband’s home in St Kilda to stay at
the Grand Hotel in Melbourne, after a few years of co habitation. She told him
that she wanted to be close to the theatre for rehearsals. Five years later,
upon being asked to return, Florence told her husband bluntly, that she was
wedded to the stage. The divorce was an amiable one and Florence did not
contest the charge of desertion.
Whilst she may have stayed at the Grand Hotel in Melbourne,
Florence had another home in Sydney. Called St Malo, it was located at Darling
Point. It had a wonderful view of the harbour and was so close that the actress
could hear music on the ferries as they sailed past her balcony. She had a maid
and a vegetable garden and took some pride in her green peas.
By this time Florence had become more relaxed about her
performances. Where once she would have performed despite ill health, she was
now being careful about her voice and refused to sing when her voice was not
perfect.
At this stage Florence was interested in leisurely pursuits,
stating that her favorite pastime was fishing. She admitted that she did not
read a lot and preferred light fiction to serious work. Her favorite roles were
those where she played a girl pretending to be boy such as in Paul Jones. That play seemed to be
forever in her mind. By this time Theatre
Magazine was calling her a ‘veritable queen’ adding that "Australia
has never fully realised what a fine artiste and rare voice it possesses in
Miss Young."
Although Florence appeared to be satisfied and enjoying her
fame,she did not reduce her schedule. In 1914 she formed her own company to
perform The Climax which was a
dramatic role. Her training with the Royal Comic Opera Company had ensured her
versatility. She rejoined the company in 1915 and appeared in one of her favorite
roles, Paul Jones.
In 1916 she appeared in ‘Gypsy Love’ with the company. Upon arrival in Melbourne for the
production she received a gracious gift from a group of gallery girls who were
waiting for her at the station with a beautiful bunch of flowers. Attached to
the gift was a card. "To Florence-Young as ever! Welcome back." It
was a delightful reminder of Flo’s never ceasing public appeal and a tribute to
her personal charm.
Florence continued the hectic working pace up to 1920. She was
planning retirement in that year. She told Theatre Magazine that she would retire in November that year
after thirty years of stage life, twenty five of those with J C Williamson.
Florence did not know how many parts she had played for
Williamson but estimated that in one year she had played thirty four different
roles. She was forty nine years old in 1920 and the stress of performance was
beginning to tell.
Florence passed away on November 11th 1920. She
had attained thirty years of stage life as she had desired. According to her
death certificate she died of a cerebral hemorrhage brought on by exhaustion.
There is some suggestion that a car accident, weeks before, contributed to her
passing.
Her death was mourned by the whole country. Naturally those
in the theatrical profession were most affected. Florence died with the sound
of applause in her ears, it was the life she had wanted and she lived it to the
full. Theatre Magazine summed
it up aptly with a simple sentence
‘It can truthfully be said that in Miss Young, Australia
has lost one of the finest , most magnetic musical comedy actresses the world
has ever seen ‘
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