Archive for May, 2012

Of those who were around on the night of the shooting, Elvira’s “closest friends”, according to the Police statements, were Terence Skeffington-Smyth and Leonie Fester. Given that the former died after a night spent in Shanghai opium dens in 1936 and the latter was fined for possession of illegal drugs in 1933, we can make some sort of guess as to where Elvira’s recreational interests were heading.

Neither actually attended the cocktail party, but both turned up at the Blue Angel later on. Terence’s younger brother, Denys, was there. It has not been easy to trace the subsequent history of the Skeffington-Smyths, partly because Terence’s two younger brothers, Noel and Denys changed their surname to Fitzpatrick (as did the father).

Noel, who, as far as I know, has nothing to do with Elvira’s world, earns himself a place in history as part of Peter Fleming’s expedition to the Amazon in search of  Colonel Percy Fawcett. The story is told, by Fleming, in one of the classic travel books, Brazilian Adventure. Peter Fleming was Ian Fleming’s elder brother – and was married to Celia Johnson of Brief Encounter fame. Noel , obviously an adventurer, then apparently joined the Spanish Foreign Legion and subsequently became a Leutenant in the Irish forces fighting for Franco. As an  English-educated (Winchester and Sandhurst) Anglo-Irish protestant he did not have a particularly smooth time in charge of Catholic volunteers, mostly O’Duffy’s Blueshirts, who believed they were saving Spain from Godless communism.

As for Denys, who at the time of Elvira’s cocktail party was appearing on the West End stage in Casanova, he left for America in 1937. Initially he lived in California. I can’t be absolutely positive but I suspect he might be the same Denys Fitzpatrick who ended up in Key West, Florida – much loved as an entertainer and performer – and who only died five years ago, aged 97.

Here are some snippets from Key West web pages

“Lynda Frechette reports that the life of the late Denys Fitzpatrick was celebrated at Square One last week. Hosted by Tom Luna, who also assembled a display of photos highlighting the amazing Denys – he hobnobbed with the likes of Hermione Gingold, Noel Coward and Vincent Price – the event was an exchange of many memories and stories. Bobby Nesbitt, one of his closest friends, sang all of Denys’s most cherished songs including “I Remember it Well” with the incomparable Larry Harvey (Larry and Denys were-famous for singing together all around town). Bruce Moore sang “NeverNever Land” and everyone joined in singing “White Christmas,” which Denys had performed every year at the Christmas concert at St. Paul’s.”


Today I ask you to take time to remember DENYS FITZPATRICK!  We met Denys around Bobby Nesbitt’s piano at the Pier House 11 years ago.  He was an elegant gentleman…always dressed to the nines…often in a white linen suit, with an ascot!  He came alive when Bobby would invite him to sing.  Will we ever forget his duets with his longtime friend, Larry Harvey?  What a memory that is!  We all loved listening to his many stories about his life on the stage and the famous people he hobnobbed with…people like Fannie Brice and the like.  Denys was a true Key West Legend, and he is deeply missed!  Today would have been his 100th Birthday!”
” On July 15th, please take time to remember the marvelous DENYS FITZPATRICK who on graced Key West with his class & elegance! He is remembered with love!”own to the Ascot tie
It has the right ring about it, don’t you think? Even down to the Ascot tie, as favoured by the Duke of Windsor. This Denys also told a story of a loss of the family title, hence the name change. Larry Harvey was a legendary figure in Key West. He was associated with Hemingway House  and is featured in a documentary on the history of Key West’s gay community. He died, aged 91, a couple of weeks ago.
If I have the right person then is this him? – “DENYS FITZPATRICK was born 16 July 1910, got Social Security number 546-22-3779 (indicating California,) and died 18 October 2007.”.
On the passenger list of the Ile De France, 30 April 1937, Denys Skeffington Smyth, described as an author, gives his country of permanent residence as the  USA.
There is an author by the name of  Denys Fitzpatrick living in New York in the 1940s, and an antiques dealer of the same name is mentioned in the Miami News of 1950. The Smithsonian has a 1947 design by Denys Fitzpatrick called “Pavilion Palm”, inspired by the Brighton Pavilion. Is this our Denys – or are these three entirely different people.?
If anyone can enlighten me further, I’d love to hear from them. Even if the Key West chap is unconnected, he sounds an interesting character and I am glad he is remembered fondly.

(Thanks to Gill for reminding me of this.)

Elvira’s father outlived his errant daughter by less than a year. This is a list of funeral attendees. There is an obvious mistake in naming a son, Elvira’s brother died in World War One, but it offers a picture of absolute respectability compared to the circles Elvira moved in.


The funeral of Sir John Ashley Mullens took place at Long Cross, near Chertsey, on Saturday. Canon H. J. F. Tringham officiated. Among those present were: – Lady Mullens, Mr. J. Mullens (son). Colonel Rushton Adamson (brother-in-law). Sir Charles and Lady Lamb (brother-in-law and sister). Mr. Max Adamson (brother- in-law). Major G. Mullens, Mr. Charles Mullens. Mr. W. J. Mulens. Mr. and Mrs. Hugh Leveson-Gower (son-in-law and daughter), Mr. and Mrs. W. Stent (brother-in-law and sister), Mr. J. H. R. Stent. Vice-Admiral and Mrs. Usborne. Miss Carlisle, Mr. Henry M. Carlisle, Mr. and Mrs. Geoffrey Hart, Colonel Manchall. Mr. and Mrs. Ernest Baker, Mr. C. Stocken (representing the Committee of the Stock Exchange Benevolent Fund), Mrs. Allen and Miss Allen Mr. and Mrs. Quilter. Mr. D. Berdoe-Wilkinson. Mr. C. S. Woodrow, Mr. and Mrs. S. W. G. Trinaham, Mr. E. S. Cripps (representing Messrs. Mullens and Co. and the managers, London Stock Exchange). Captain H. S. Harrison-Wallis., R.N.. Mr. and Mis. Richmond-Temple, Mrs. Charles Seymour, Mr. and Mrs. Harold Baker. Lieutenant-Colonel H. T. Green. Lieutenant-Colonel Reginald Cooper, Mr. Arthur Watson.
Mr. and Mrs. Hawkins, Mr. Paget-Cooke. Captain Quare, Mrs. Morris-Hall. Mr. Henry Eastwoocd (representing Board of Managers of the London Orphan School and the Royal British Orphan School, Watford); Sir Herbert Lush-Wilson. K.C.. Mr. Gordon Anketell. Mr. H. S. Parfitt. Major J. L. Nickisson, Mr. E. N. Dalton (deputy chief cashier, Bank of England), Mr. Harry Preswich, Mr. John P. T. Boscowen (representing partners of Messrs. R. Levison and Co.). Brigadier-General and Mrs. H. Tusson, Colonel and Mrs. W. Symon, Mr. Malcolm Adamson, Mr. D G. Catterns (representing the Governor of the Bank of England), Mr.and Mrs W S. Marshall. Mrs.A. Tooney, Mrs J Shipton, and Mr J. Deacon.

Probate £216,843/5/9d to the public trustree.

1 Jan 1938 Christ Church, Long Cross, Chertsey, Surrey

Christ Church is no longer in use. Rather worryingly it is listed as “up for disposal” which doesn’t sound good.  I think too that the Mullens country house at Barrow Hills nearby is now a golf club.

The importance of Cabaret and the Revue to both popular and Bohemian culture between the Wars is undeniable. The first Bohemian night-clubs, The Cave of the Golden Calf, The Hambone and the Cave of Harmony were all initially cabaret-bars, modelled along Parisian lines. The craze for dancing in the 1920s reduced the Cabaret to a specialist or novelty act and the dance-bands and pianist-singers began to dominate. The legacy remained though.

At the same time, in the theatre, Andre Charlot and C.B.Cochran developed the Revue with a string of spectacular and innovative  productions.Elements of music-hall, Parisian Folies, jazz, ballet and topical satire all combined to create a distinctive, and very popular, night out.

Night Lights at the Trocadero

Both men favoured a mix ofthe  high and the low, of sophistication and spectacle. They also had a great eye for new talent and many of the great acts of the time owed their careers to their foresight. Aside from several mammoth (and expensive) productions they also pioneered what came to be known as the “Intimate Revue”, which achieved particular importance in the 1930s. Its success owed much to Noel Coward’s 1920s Revues, first for Charlot and then jointly with Cochran, On With The Dance (1925) and This Year of Grace (1928). These had provided the decade,s two most evocative and anthemic songs, firstly Poor Little Rich Girl and secondly Dance Little Lady.

The Intimate Revue was a theatrical event that drew inspiration from both Cabaret Club and larger stage performances. It was very fashionable for a while and its audience  pretty up-market. Certain artists became particularly associated with genre, Hermione Baddeley and Hermione Gingold especially.

Two Hermiones 1950

Hermione Baddeley was at the heart of Bright Young society. Her husband was David Tennant, owner of the Gargoyle Club and she had a  deep animosity towards Brenda Dean Paul and Harry Rowan Walker, from the raffish end of the set (both of whom were likely associates of Elvira). She was the star of the Revue that Hugh Wade was most involved with ( see )

Hermione Gingold ruled the roost at the Gate Theatre Studio in Covent Garden. This was a small (96 seats) but important venue which put on challenging plays but also a large number of revues. Operating as a club, it avoided the need to submit everything to the Lord Chamberlain’s office and so was rather freer from censorship than larger venues. (see Gate Theatre Studio)

One programme is enough to reveal the array of talent involved and the general  ambience of these Revues. Some of the actors would go on to become the most familiar of British and American screen faces, others important figures in television circles. At least two were friends of Hugh Wade and Elvira.


Geoffrey Wright, Robert MacDermot, John Adrian Ross, Nicholas Phipps (Gate Theatre Studio)
Charles Hawtrey, Hermione Gingold, Richard Haydn, Kenneth Carten, Nicholas Phipps, Nadine March, Ann Morrison, Billy Milton, Reginald Beckwith, Gabrielle Brune; dir:Norman Marshall & Geoffrey Wright, des:William Chappell ; additional material by Diana Morgan, Walter Leigh, Ronald Hill, John Weir, Reginald Beckwith, Harold Plumptre, Arthur Marshall

Norman Marshall was the owner of the theatre  and an important figure in what would now be termed alternative theatre. He used the Revues to finance more experimental and “difficult” productions (see Norman Marshall). His co-director,who wrote the music was Geoffrey Wright (see Geoffrey Wright Obituary ). This Oxbridge partnership gives the lie to the myth that “Beyond The Fringe” was the first manifestation of the Footlights tradition on the London  stage.

Billy Milton was at the height of his popularity at this time, spending his time between cabaret spots in London, Paris and New York. He has appeared on this blog in several guises, playing at Elvira’s parents’ house, claiming to have missed Elvira’s party by a day, befriending Napper Dean Paul in Cannes and generally knowing everyone in show-business and Society.

William “Billy” Chappell is also a familiar name, linked with Edward Burra, Frederick Ashton et al. His work in the 1930s as dancer, choreographer and set-designer show a work ethic not usually associated with the Chelsea Set (see William Chappell Obituary )

Billy Chappell

Apart from Gingold, the name most likely to resonate today is Charles Hawtrey. It is easy to forget that he had a long pre-Carry On career and in 1937 had already endeared himself to the British public as the obnoxious schoolboy in Will Hay’s stage and cinema act. Hawtrey’s later life is one of tragedy and alcoholic downfall, so it is pleasant to remember him in these early years of success. He was the show’s compere.

Charles Hawtrey

Richard Haydn was a comic actor whose nasal-tones created a number of memorable radio characters in the 1930s. He is best remembered as the voice of the Caterpillar in Walt Disney’s Alice and as  Max Detweiler in The Sound of Music. (see  Richard Haydn)

Richard Haydn

Gabrielle Brune was another whose career spanned many decades. Fans of Ealing Comedies will remember her from “The Titfield Thunderbolt” ( see Gabrielle Brune)

Gabrielle Brune

Nadine March was a popular stage actress and revue star. Her speciality was a parody of Kensington/Mayfair society and party girls, which I am sure guaranteed her a good reception from the type of audience who attended the Gate and similar venues.

Nadine March

The name Nicholas Phipps may not mean much but his face is instantly recognisable from innumerable British comedy films where he tended to play officious or military types. He also was a screenwriter, his script for Doctor In The House (1954) being BAFTA nominated.

Nicholas Phipps

Equally ever-present on screen was Reginald Beckwith, whose film credits read like a history of post-War British popular cinema ( Freedom Road, Genevieve, Thunderball et. He was also a scriptwriter for revues and other stage productions. In “Members Only” he played a (comical)  male stripper, not the sort of thing seen too regularly in the mainstream West End.

Reginald Beckwith

Then we have Hugh Wade and Elvira’s friend Kenneth Carten. Carten was well-established as a regular in Noel Coward shows but is better known as Tallulah Bankhead’s close friend and confidante. He was probably the male lead in the sketches and song

Letter from Kenneth Carten to Hugh Wade 1949

Among those who provided the sketches were the playwright Diana Morgan (her husband, Robert MacDermot,later head of drama at the BBC, co-directed) and Arthur Marshall. Diana Morgan was to become a successful screenwriter (see Diana Morgan) while Arthur Marshall became known to television viewers through his appearances on Call My Bluff. In 1937, Marshall was a schoolmaster at Oundle but also had ambitions as a comic and cabaret turn. He had already begun his reviews and parodies of Public Schoolgirl stories (see Finding Schoolgirls Funny ), an acquired taste but one apparently shared by many.

Arthur Marshall

And then we have Hermione Gingold, for whom the word “character” seems hardly adequate. I think I will post on her separately but through her friendship with Elizabeth Welch and Brian Desmond Hurst and her marriage to Eric Maschwitz ( lyricist to “These Foolish Things”) she was very much at the heart of West End society.

Hermione Gingold

To me it is a remarkable list of people, cutting across a great swathe of British popular culture. There is a strong Public School, Oxbridge element involved and a definite gay and camp air to the proceedings. The show was well reviewed, Dilys Powell in the London Mercury praised Billy Milton’s American Film Star, Nicholas Phipps’ “Shooting Colonel”, Nadine March’s Kensington Girl, Beckwith’s Stripper and Hawtrey’s Compere.  She was very taken by Gingold’s “Snake Charmer” and Richar Haydn’s “Fish-Impersonator” (the mind boggles). It was all very light-hearted and, I’m sure, a jolly good night out.

A great source of information for theatres and revues is this one

Rob Wilton Theatricalia

I don’t know of a definitive history of the Revue but hope there is one somewhere.Of course, I can’t help wondering about the social network these artists operated within or wonder which night clubs they and the audience went to after the show.

Hero De Rance

The “Hero” who performed the medley of Hugh Wade’s music at the Colony (see and who sent him a telegram in hospital is, I am fairly sure, Hero De Rance. As with so many of the people who crop up on here, information about her is not easy to find. The following is therefore more than usually provisional.

What I do know is that she had a very long career as a composer and pianist mostly working in the theatre. She had appeared on stage as a child performer from the age of ten, then worked as a song plugger before achieving success with her own tunes, some time in the mid-twenties. She wrote a song for Norah Blaney and Gwen Farrar’s show “The Punch Bowl” and collaborated with the prolific lyricist Gus Kahn.

In 1930 she composed “The Journey’s End” to coincide with the film release of Sherriff’s play. Throughout that decade she wrote music for the theatre, including “Bats in the Belfry”, which featured a young Vivian Leigh.Her main employment appears to be as a pianist, providing musical accompaniment for a number of productions, which she continued to do until the 1960s

In 1937 she achieved her highest public profile with “You’re Mine“, chiefly because it was recorded by Richard Tauber. The lyricist was the Paris-born songwriter and impresario, Bruce Sievier. Was Hero also French?

Although most of her lyricists were male, she did collaborate with Winifred May and the novelist/playwright Daisy Fisher. It is very rare indeed to come across such female partnerships in the song-writing catalogues, so deserves a mention if just for that.

In the 1950s Hero was briefly an announcer for the newly formed ITV; her task was to preview the next days schedule.

She was a long term supporter of the Performing Rights Society, having joined in 1926, she was still attending AGMs in the late 1980s. It is from Cyril Erlich’s history of that organisation (Harmonious alliance: a history of the Performing Right Society) that what little information I have is largely gleaned.

Obviously fond of Hugh, I’m assuming she knew him as a fellow-professional but also as an inhabitant of the same social circle, given that Dolly Mayers feels no need to use anything other than a Christian name. A Bloomsbury resident, she lived at Wardour Court , Bedford Street (just off Russell Square) for over fifty years.Apart from the address and telephone number, I can find no reference to birth or death. I think she is a person of some interest and, as ever, if anyone has more information do let me know.

What do you make of this outfit?  Is it hunting gear, a uniform of some sort, Gaucho chic, fancy dress or are there some other meanings to it? Is this Elvira giving expression to her much quoted fondness for sport? The contrast between the boots and trousers and the scarf strikes me as significant but my ability to read the language of clothes is non-existent.Is it a typical or an unusual form of dress? There probably is a very simple explanation but it is eluding me.

The date given is 1930 but the photographs are probably from late 1929. This means they were taken not long after John Barney disappeared back to the States and Elvira was fully embarking on the  party phase of her life.

The image is very different from the other two portraits from the same period. These are much more arty and Bohemian. The first affects a dreamy, Muse-like attitude while the painting has a glamour and a certain sense of danger about it.

I find them all rather intriguing and would welcome any thoughts on what can reasonably be read into what were, I’m sure, very deliberate self-representations.