Queens Hall Roof Cabaret Follies

The Cabaret Follies

The Cabaret Follies 

When Jack Hylton’s Cabaret Follies show made its debut in London in the autumn of 1922 it was one of four big cabaret shows that made a Brighter London, the others being located at the Grafton Galleries (Midnight Revels), Murray’s Club (Murray’s Frolics) and the Hotel Metropole (the Midnight Follies). At first its status and popularity amongst London’s high society was unassailable, but when Jack Hylton relinquished control at the end of 1923, it floundered and ceased to be by the summer of 1924.

Programme cover for the Cabaret Follies at the Queens Hall Roof, 1923
Programme cover for the Cabaret Follies at the Queens Hall Roof, 1923

However, before the Cabaret Follies, the first cabaret show at the popular rendezvous of The Queens Hall Roof in Langham Place, at the top of Regent Street was presented by Carl Hyson and Jack Hulbert in April 1922 and was titled ‘Folies de Montmartre’.  

See the post on the Queen’s Hall Roof here

Carl Hyson was the producer of the show and appeared in it. He was an American who had been brought to London by C.B. Cochran to appear in his show London, Paris, New York with his wife Dorothy Dickson. They had been ‘the rage’ in New York as celebrated dancers and were well aware of the attraction of cabaret.

Because the Queen’s Hall had a theatrical license. until 2.30am, the show was immune from the LLC (London County Council) restrictions as to costumes and chorus. So, there was a ‘chic’ chorus of sixteen and Hyson engaged Gordon Conway to design the costumes. But, the young designer Guy De Gerald (who had already worked for Hyson and Hulbert) had been appointed to design the ‘decorations’ and a sketch by him signed and dated 1922 was still being used in 1923 for the programme..

The interior of the hall had been totally refurbished and the stage rebuilt so that. according to The Era and The Times, it resembled the Ziegfeld Roof Gardens in New York.

Carl Hyson and Peggy Harris, 1922
Carl Hyson and Peggy Harris, 1922

The cast included the clever ballroom dancers Carl Hyson and Peggy Harris from the Embassy and Ciro’s Club showing their ‘whirlwind elegance,’ Tim O’Connor who had appeared in Afgar in America with his ‘clever acrobatics,’ Reggie Andrews late of the Gaiety Theatre and the Midnight Follies, Olivette and Shiela Maye in various ‘merry romps’ and Shiela Radcliffe.

The entertainment consisted of three things – eating, dancing and watching the ambitious performance of a band of clever entertainers. There was an eccentric air balloon act in which the performers led by Dolly King descended from the stage onto the dancing floor and the diners at the table were encouraged to prick the balloons with cigarettes. A new lighting effect was shown by Reggie Andrew who wore a gorgeous vestment of the Chinese Emperor Kui-Lun that was 250 years old in a turn called Shanghai accompanied by Miss Wessley. Rag a Jazz was the last turn on the program. The entire company were dressed as minstrels whose figures were to be electrically lighted and seen in the dark giving a weird impression of illuminated masks.

In May 1922 Folies de Montmartre had some minor changes with the addition of several new items and comedy speciality acts, but it would appear that by the summer the excitement was over.

After the success of Carl Hyson’s show Folies de Montmartre at the Queens Hall Roof and his departure for ‘The Midnight Follies’, Jack Hylton, the most energetic and famous of our jazz band leaders launched his own show entitled ‘The Cabaret Follies’ in the Autumn of 1922. It became a huge success and rivalled ‘The Midnight Follies’. Hylton, born in Lancashire, had served an apprenticeship in a seaside concert party, touring pantomime and in army entertainments, before joining the band at the Queen’s Hall Roof and eventually running it and producing his first cabaret.

See the post about the Queen’s Hall Roof and Jack Hylton here

The Cabaret Follies went through several editions but it is impossible to isolate and define each new edition. A new edition was not always reported in the press, and often a new or revised edition merely meant minor alterations in the programme with new key performers but retaining many of the big ‘numbers.’ However, in broad terms, like so many other cabarets in London, there were new shows staged for each Spring and Autumn season with a hiatus for the summer.

An artists impression of the Cabaret Follies at the Queens Hall Roof, 1922
An artists impression of the Cabaret Follies at the Queens Hall Roof, 1922

The first edition of the Cabaret Follies for Autumn 1922 was presented by Jack Hylton and his co-directors on 7th September 1922. The well-known actor Jack Buchanan was engaged to stage the show that comprised 8 different numbers, with six principals and a beauty chorus of sixteen. It was presented in two halves – the first at 10pm and the second at 11.30pm. The headlining act were the glamorous sisters Josephine and Helen Trix along with the dancers May Vivian and Henry de Bray, Tim O’Connor and Flora Lea. The performance was given on the small stage at the end the ballroom, but in order to achieve that intimate effect which is an essential feature of the true cabaret show, the actors and actresses moved to the dancing floor during the entertainment.

See the post about May Vivian here

Henry de Bray and May Vivian in the Cabaret Follies at the Queens Hall Roof, 1922
Henry de Bray and May Vivian in the Cabaret Follies at the Queens Hall Roof, 1922

The Cabaret Follies was one of four London cabaret shows being staged in late 1922. The first was the Midnight Follies at the Hotel Metropole. The second was Murray’s Frolics at Murray’s club. And the third was the Midnight Revels at the Grafton Galleries. Alas, the Midnight Follies was under considerable restraint from the London Country Council in terms of number of performers and the use of costumes and scenery, whereas Murray’s Frolics, the Midnight Revels and the Cabaret Follies were exempt from restrictions because they were a club and not a hotel or restaurant. 

The glamorous Trix Sisters had appeared in the Andre Charlot show A-Z along with Jack Buchanan and provided ‘delightful songs.’ They ‘set a new note in artistic gowns’ and charmed the eye ‘wearing Molyneux gowns giving the effect of old red lacquer.’

The Trix sisters, 1922
The Trix sisters, 1922

See the post on the Trix Sisters here

Tim O’Connor was a remarkably clever British comedian and acrobatic dancer and excelled in his ‘I’m Lost Without a Girl’ number. He had been appearing with Alice Delysia in Afgar in America in late 1920 – early 1921 substituting for Lupino Lane, and returned in late 1921 – early 1922.

The beautiful American, Flora Lea, a one-time Ziegfeld girl, who had also appeared in other Broadway shows, led the beauty chorus. Flora Lea had previous been in Paris throughout the summer of 1922 before joining the Cabaret Follies and had been spotted at numerous social functions.

Flora Lea in the Song of India scene in the Cabaret Follies at the Queens Hall Roof, 1922 (taken from The Bystander 3/1/1923 courtesy of the Mary Evans Picture Library)
Flora Lea in the Song of India scene in the Cabaret Follies at the Queens Hall Roof, 1922 (taken from The Bystander 3/1/1923 courtesy of the Mary Evans Picture Library)

In one number the chorus were decked out as a confection of foliage supporting Flora Lea, when she sang Evergreen Eve. Another scene was called ‘The Pillar-box Parade’ number.

The 'Eve' Chorus with Henry de Bray in the Cabaret Follies at the Queens Hall Roof, 1922 (taken from The Sketch 6/12/1922 courtesy of the Mary Evans Picture Library)
The ‘Eve’ Chorus with Henry de Bray in the Cabaret Follies at the Queens Hall Roof, 1922 (taken from The Sketch 6/12/1922 courtesy of the Mary Evans Picture Library)

There was also a big finale called Song of India with a collection of ornate and fancy costumes thought to be reminiscent of ‘oriental splendour.’

The 'Song of India' scene in the Cabaret Follies at the Queens Hall Roof, 1922 (taken from The Sketch 6/12/1922 courtesy of the Mary Evans Picture Library)
The ‘Song of India’ scene in the Cabaret Follies at the Queens Hall Roof, 1922 (taken from The Sketch 6/12/1922 courtesy of the Mary Evans Picture Library)

Sadly, there are no indications as to who the costume designer was. But there were two likely candidates. Guy de Gerald had been appointed to design the ‘decorations’ for Carl Hyson’s earlier cabaret show Folies de Montmartre. And a sketch by him signed and dated 1922 was still being used in 1923. He was also designing various stage shows in 1922 including the second edition of Pot Luck. The other candidate was the French designer G.K. Benda who had designed the first edition of Pot Luck and had also designed the costumes for Andre Charlot’s A-Z (launched in October 1921) that had featured the Trix Sisters and Jack Buchanan.

The performers in the Cabaret Follies at the Queens Hall Roof, 1922
The performers in the Cabaret Follies at the Queens Hall Roof, 1922

The Cabaret Follies was described as having ‘the real Montmartre atmosphere.’ The Tatler claimed that it was ‘the biggest success since the famous Ziegfeld Follies’ and that it ‘provided just the right kind of light after-dinner fare that London has been looking for years.’

In early November 1922 there was a major change in the programme of the Cabaret Follies when the Trix Sisters moved on and Beatrice Lillie took up the leading role. Lillie was doubling in the show The Nine O’Clock Revue. She was regarded as one the great English stage humorists and was even called ‘the funniest woman in the world.’ It was thought that cabaret was admirably suited to Beatrice Lillie’s intimate method. She included her popular song Snoops the Lawyer in her repertoire and an amusing burlesque of a blonde lady singing a sentimental ballad.

Flora Lea in her 'Eve' costume in the Cabaret Follies at the Queens Hall Roof, 1922
Flora Lea in her ‘Eve’ costume in the Cabaret Follies at the Queens Hall Roof, 1922

A few weeks later in mid-November 1922 it was reported that the French Arnaud Brothers were to join the show. They were described as musical clowns and acrobats and had been seen in London in 1920 in the Albert de Courville show Whirligig at the Palace Theatre. However, it is known that another pair of musical clowns called the Plattier Brothers did perform, so did they replace the Arnaud Brothers or was the report about the Arnaud Brothers incorrect?

There was another change, also in mid-November 1922, when Tim O’Connor seriously dislocated his ankle. In his place stepped Lupino Lane and his wife Violet Blythe. O’Connor announced he had a perfect double in Lupino Lane referencing the fact that he had previously took his place in the American tour of Afgar.

A visit to the cabaret Follies was thought to be ‘one of the jolliest and least expensive in town, for, in exchange for one guinea, there was an excellently served dinner, an amusing show, and plenty of time for dancing on a good floor to a splendid band.’

A scene from the Cabaret Follies show at the Queen's Hall Roof, Late 1922
A scene from the Cabaret Follies show at the Queen’s Hall Roof, Late 1922

At the time there was also some discussion about the origins of cabaret that was rather erroneous. ‘Some people think the cabaret entertainment is an American innovation. although the name signifies French origin, but Mr. Jack Hylton. who was the pioneer of the cabaret in London, says it is only the evolution of the old-time music-hall, or what was known in the provinces as ‘sing-songs.’ Indeed, cabaret in London had been inspired by the American model but Hylton was not the pioneer of cabaret. There had been an earlier show at the Queen’s Hall Roof staged by Carl Hyson (Folies de Montmartre) and there had been earlier cabaret shows staged in London before 1922.

Jack Hylton and his Queen's Dance Orchestra @ 1921 or 1922 (Taken from the internet)
Jack Hylton and his Queen’s Dance Orchestra @ 1921 or 1922 (Taken from the internet)

However, the golden glow of the first edition of the Cabaret Follies was slightly blighted by the antagonistic London Country Council. They had decreed that a new license would be granted for music and dancing but if intoxicating drinks were sold or consumed the number of performers could not exceed six and that costumes or scenery could not be used. This was a bizarre ruling. Since the Queen’s Hall Roof came under the laws of Marylebone, the drink license was up to 11pm. However, the cabaret show went on until midnight causing a conundrum. The solution was to have wet and dry shows – the first show before 11pm (the wet part) conformed to the LCC’s rules and the second part (the dry part) took place after 11pm with the full show including a beauty chorus, costumes and scenery.

A new edition of the Cabaret Follies was launched by Jack Hylton on 15th January 1923 and was called ‘London’s Cleverest Cabaret.’ According to the new rules dinner and dancing was from 8.30 pm, supper from 10pm and the main cabaret show began at 11.20pm. Some songs were given in the earlier part of the evening in the intervals of dancing as part of the ‘dry’ show.

The main show included the singing and dancing of Jack Buchanan. Buchanan also did another song and dance turn with Sylvia Leslie introducing The Dancing Honeymoon, one of the numbers from Battling Butler staged at the New Oxford Theatre. Tim O’Connor was again seen doing his acrobatic dancing. There was singing and dancing from Henry de Bray and Elsie Randolph. There was also an amusing tennis number. The performance ended with the spectacular Queen of Sheba tableaux featuring the ‘Eastern’ dancing of Violet Doreen, an American cinema star who had acted in Mack Sennett comedies.

Mary Leigh, probably in the Hello My Little Eskimo scene in the Cabaret Follies at the Queens Hall Roof, 1923 (taken from The Tatler 28/3/1923 courtesy of the Mary Evans Picture Library)
Mary Leigh, probably in the Hello My Little Eskimo scene in the Cabaret Follies at the Queens Hall Roof, 1923 (taken from The Tatler 28/3/1923 courtesy of the Mary Evans Picture Library)

Through February and March 1923 there were regular new additions to the programme. So, in February 1923, there was Monty Woolf and Ennis Parkes, who sang her own compositions. In early March 1923 the feature turns were Mary Leigh and the Australian dancing pair Syd Culver and Maggie Dickinson. The latter performed a new Parisian dance called La Gava that was something between a fox-trot and an Apache movement.  By the end of March 1923 Lola Krasavina (from the Coliseum and Alhambra) was singing as was Martin Boones along with the acrobatic and exhibition dancing of Leon and Alys.

The Queen’s Hall Roof was regarded as one of the ‘smartest’ cabaret venues and crowded with ‘fashionable throngs’ and many ‘well-known folks’. This included such names as Lady Mountbatten, Prince Henry, Lady Rachel Cavendish and the Prince of Wales.

Programme for the Cabaret Follies at the Queens Hall Roof, 1923
Programme for the Cabaret Follies at the Queens Hall Roof, 1923

By the end of April there may have been a new or revised edition of the Cabaret Follies. There were 10 numbers featuring Mary Leigh, Tim O’Connor, Dickinson and Culver and the 16 chorus girls and a finale called Loving Sam. All the dresses were from Dubens but the designer was not listed. To maintain interest and boost audience attendance, as before speciality acts were added for a week or two such as the American variety artist Nora Bayes, Odette Myrtil and Grace Hayes.  And, at the end of April Beatrice Lillie rejoined the cast. The show at the time was described as ‘the cleverest, best dressed cabaret show in Europe, full of brightness and snap.’

Odette Myrtil, 1923
Odette Myrtil, 1923

For the summer of 1923 the cabaret was suspended and there was simply dance teas and dances at dinner and supper. At some point the room was closed and re-decorated and a new lighting scheme was installed.

Mary Leigh in the Cabaret Follies at the Queens Hall Roof, 1923
Mary Leigh in the Cabaret Follies at the Queens Hall Roof, 1923

Finally, a brand-new edition of the Cabaret Follies was subsequently launched by Jack Hylton on 14th September 1923. Once again it was a ‘wet’ and ‘dry’ show to comply with the LLC rules.

The Hunting number in the Cabaret Follies at the Queens Hall Roof, 1923 with Stephen Frayne in the centre
The Hunting number in the Cabaret Follies at the Queens Hall Roof, 1923 with Stephen Frayne in the centre

The principal stars were once again the Trix Sisters wearing a range of Molyneaux and Deouillet gowns from Paris. They ‘rattled through song after song with the confident air of artists who know their work and know that thier public like it. From piano and song they turned to the singing of negro spirituals with a banjo accompaniment.’

One of the scenes called 'Hello' from the Cabaret Follies at the Queens Hall Roof, 1923 with Beryl Beville in the centre
One of the scenes called ‘Hello’ from the Cabaret Follies at the Queens Hall Roof, 1923 with Beryl Beville in the centre

The rest of the cast included Beryl Beville, Ennis Parkes, Tim O’Connor, Stephen Frayne, Bobby Blythe, Sosino and Wayo, the acrobatic dancers Divina and Charles and a large chorus. All the costumes were designed by Dolly Tree. There were several interesting numbers that included Gaby Doll, Hunting and Tennis.

See the post on Dolly Tree and the Gaby Doll scene here

The Gaby Doll number in in the Cabaret Follies at the Queens Hall Roof, 1923
The Gaby Doll number in in the Cabaret Follies at the Queens Hall Roof, 1923
Dolly Tree's sketch for The Gaby Doll chorus in in the Cabaret Follies at the Queens Hall Roof, 1923
Dolly Tree’s sketch for The Gaby Doll chorus in in the Cabaret Follies at the Queens Hall Roof, 1923
The Gaby Doll chorus in the Cabaret Follies at the Queens Hall Roof, 1923
The Gaby Doll chorus in the Cabaret Follies at the Queens Hall Roof, 1923

A month after the launch of the new edition on about 14th October Laddie Cliff joined the cabaret Follies as the lead artist and sang My Gal’s face, They Git Me Once and My Wonder Child ‘with all his accustomed artistry and his clever characteristic dances.’ As was customary, there were regular new additions to the cast and so in late October 1923 Marcelle Roche the clever French actress appeared and also H.B. Hedley (from the Co-optomists).

Beryl Beville in the 'Tennis' scene' from the Cabaret Follies at the Queens Hall Roof, 1923
Beryl Beville in the ‘Tennis’ scene’ from the Cabaret Follies at the Queens Hall Roof, 1923

Allegedly, a new edition was staged 3rd December 1923 under the direction of Mr Glover. However, the cast and the actual numbers were more or less identical. However, one of the new turns was called Cocktails and Beryl Beville and the girls armed with cocktail shakers dispensed drinks to the audience. It is more than likely that any new dresses were designed by Dolly Tree.

A scene in the Cabaret Follies at the Queens Hall Roof, 1923 with Tom O'Connor on the right (taken from The Bystander 31/10/1923 courtesy of the Mary Evans Picture Library)
A scene in the Cabaret Follies at the Queens Hall Roof, 1923 with Tom O’Connor on the right (taken from The Bystander 31/10/1923 courtesy of the Mary Evans Picture Library)
A scene in the Cabaret Follies at the Queens Hall Roof, 1923 with Bobby Blythe in the centre (taken from The Bystander 31/10/1923 courtesy of the Mary Evans Picture Library)
A scene in the Cabaret Follies at the Queens Hall Roof, 1923 with Bobby Blythe in the centre (taken from The Bystander 31/10/1923 courtesy of the Mary Evans Picture Library)

It looked as if Jack Hylton had moved on and it was reported that there was now a new orchestra from Paris under the direction of the saxophonist Paul Gason. There were new principals in the form of the well-known ballroom dancers Ted Trevor and Dina Harris but by January 1924 they had moved on to the Riviera.

Ted Trevor and Dina Harris, 1922
Ted Trevor and Dina Harris, 1922

By 21st February 1924 there was another new edition of the Cabaret Follies produced by Mr Glover. The programme featured Fayette Perry who was a dainty artiste from America who had been in Paris. She had previously led the chorus at the Grafton Galleries cabaret in late 1922 – early 1923 and in the subsequent Autumn 1923 show.

The rest of the cast included Beryl Beville, June Wyndham, Reggie Andrews and Eric le Fre who was impersonating Felix the cat. Three of the numbers were The Broadway Strut (Reggie Andrews,  Beryl Beville and company), Cross Eyed Papa (Beryl Beville) and My Conscience Whispered (Reggie Andrews).

In March 1924, the Queen’s Hall Roof closed for two weeks for redecorations and re-opened 25th March with the addition of a new lighting system from Adrian Samoiloff and with the dancing floor painted blue. The new decor comprised ‘lovely grey-gold walls and softly shaded lights on tall pedestals and behind the cornice and up above the domes of summer night sky like blue to go with the floor.’

The lease on the roof had passed to Oswald Percival Murray, a well-known theatrical agent who staged a new cabaret show called Moonlight Folie. This new show featured Mlle Lola Krasavina (the talented continental soprano who been seen at the Queen’s Hall Roof in March 1923), the American singer Martin Broones (also seen at the Queen’s Hall Roof before), Divina and Charles, Mona Warwick, the Baby Peggy Girls, Joan Langton, Dodd Mehan and the Dix band headed by Jimmy Clarke the jazz king of South Africa.

Toward the end of April 1924, Percival Murray introduced a Tea-Time Frolic daily at 5.30pm with the charms of tea and dancing varied by a programme of dances and songs differing entirely from that given later at the cabaret proper. It would appear that the Franco-American star Irene Bordoni joined the cast of Moonlight Folie at this time. But alas, the last listing for the cabaret at the Queen’s Hall Roof was 15th May 1924.

It would appear that Percival Murray had overreached himself with his endeavours and had gone into debt and later bankruptcy. His failure was attributed to inexperience and a lack of capital.

There were no more cabarets at the Queen’s Hall Roof.

All images (unless specified in the caption) and text © copyright Gary Chapman / Jazz Age Club and must not be re-used without prior consent

Sources

Daily Mirror 30/3/1922
Daily News 26/4/1922
The Times 27 April 1922
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Daily News 28/1/1925

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