Born: Established: 11 Mar 1886 Kent Town, Norwood, Payneham & St Peters area, Adelaide - North / North East, Adelaide, South Australia, ; Died: Ceased: 28 Aug 1953 Petersham, Marrickville - Camperdown area, Sydney Southern Suburbs, Sydney, New South Wales,
AustLit
Born: Established: 11 Mar 1886 Kent Town, Norwood, Payneham & St Peters area, Adelaide - North / North East, Adelaide, South Australia, ; Died: Ceased: 28 Aug 1953 Petersham, Marrickville - Camperdown area, Sydney Southern Suburbs, Sydney, New South Wales,
BiographyHistory
Most Referenced Works
Notes
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1. GEORGE EDWARDS: THE VARIETY PERFORMER AND STAGE ACTOR:
Regarded as one of Australia's leading vaudeville sketch actors during the late 1910s and throughout the 1920s, Edwards initially established his reputation doing character sketches (or studies). One of his early specialties was the 'dago.'
Between 1915 and ca. 1922, his act invariably involved Rosie Parkes, and although reviews from that period provide little insight into their on-stage dynamics and performance styles, it appears that they specialised in comedic social sketches of around 15-20 minutes duration. These often included one or several musical numbers. Much of their material, including songs, is believed to have been written or adapted by the pair to suit their own particular style of delivery.
Some critical reviews from that period include:
- 'Those every item [on the Courtier's programme] had a distinct attractiveness, the one which probably was most popular was a one act farce enacted by Miss Rosie Parkes, Mr George Edwards and Mr Harry Borradale, which created great merriment... [Edwards later described] the life of a leper and his release, and this was greeted with rounds of applause' (Brisbane Courier 18 August 1917, p.15).
- 'Nosey Parker Nose, written by George Edwards proved to be one of the finest and biggest laugh getters seen at this theatre [Bridge Theatre, Newtown, Sydney] for some time. It gave ample opportunity for all artists and each took every advantage and made a success of their parts' (Australian Variety 1 March 1918, n. pag.).
- 'George Edwards and Rosie Parkes finished a highly successful eight weeks' season at the Majestic [Adelaide] last week. This is probably the longest run an act has yet done at this theatre' (Australian Variety 23 October 1919, n. pag.).
- 'Special interest will attach to the appearance at Fullers' Empire Theatre this week of Edwards and Parkes, the two popular Australian sketch artistes, who have just returned from a highly successful American and South African tour. It is doubtful if there is a better elocutionist on the Australian stage today than Mr Edwards in pieces of the robust-type... for who that has heard Mr Edwards recite "Dangerous Dan McGrew" does not remember it with pleasure? In light or "dude" comedy roles he is equally successful and is well supported by his charming and accomplished wife, Miss Rosie Parkes' (Brisbane Courier 17 September 1921, p.13).
- 'Edwards and Parkes caused merriment by their little war, and those who applauded "her" version of "him" were equally delighted to hear "his" version of "her." The verdict on points seemed to be a draw' (Brisbane Courier 3 October 1921, p.4).
- 'Edwards and Parkes filled in half and hour with bright "patter" and witty repartee' (Brisbane Courier 10 October 1921, p.8).
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It appears that towards the end of their partnership, Edwards and Parkes attempted to move beyond the familiar vaudeville comedy routines and experimented with material that probed a little deeper into social mores and human behaviour. One such sketch, 'Honeymoon Confessions,' presented at the Tivoli Theatre, Sydney, during May 1922, drew the ire of one Theatre Magazine critic. Under the caption 'Misapplied Ability' the review records, 'Those fine sketch artists, Rosie Parkes and George Edwards appear in what is, for professionals of their standing, a very ugly interlude. Better work than these two have done has not been seen on the Australian stage. Therefore the greater the pity it is to find them lowering their flag. Miss Parke's voice is remindful of the voices of Tien Hogue and Beryl Bryant. 'Tis a joy to listen to it. Mr Edwards's experienced craft adorns all that he touches. But it will soon be craft of another - and infinitely baser - meaning if he surrounds himself and his intellectual stage-partner with the atmosphere of grossness sensed in "Honeymoon Confessions"' (June 1922, p.17).
- It is unclear if this sketch is the same one staged by Edwards and Parkes in January 1920 (identified only as 'Confessions') and which the Brisbane Courier vaudeville critic described as 'delightful' (5 January 1920, n. pag.).
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2. HISTORICAL NOTES AND CORRECTIONS:
2.1 It appears that the claims regarding Edwards's 'unsuccessful' pre-radio career originate with a Bulletin article written by Summner Locke Elliott in 1980 ('Man with 1,000 Voices'). Although Locke Elliott provides a significant insight into Edwards's radio performances and relationship with Nell Stirling, there are a number of historical and chronological errors in the piece. Not only has his recall of events that took place between thirty-two to forty-six years previously remained unchallenged in the intervening years (he was first engaged by Edwards as a thirteen-year-old in 1934), but the structure of his article also invites concern. Edwards' career between 1913 and ca. 1929 is collapsed into one sentence (which also contains errors regarding his stage name and performance specialty), while his late 1920s career (undertaken at a time when virtually the entire Australian variety industry was near the point of collapse) is given extended coverage. In this section, Edwards (described as a 'sad fat litttle man with looks gone into jowls and thinning sandy grey hair') is presented as a failed vaudevillian who was one step away from rock bottom, rather a performer who typified the state of Australian vaudeville at that time. Although Locke Elliott clearly undertook no research into Edwards' pre-radio career, his twelve years' association with George Edwards Productions has allowed his version of events to become the accepted account. Edwards's non-inclusion in major reference sources devoted to Australian theatre, such as the Companion to Theatre in Australia and Entertaining Australia, publications in which his name should have by rights appeared, have also contributed to the myth, because a lack of evidence is seen to imply a career that lacked success. A similar situation has also occurred with the pre-1930s Australian variety industry in general (see Clay Djubal, What Oh Tonight, Chapter One).
References to Edwards's supposed 'failed' career published after 1980 include:
(i) 'Hal became an acrobatic dancer and patter artist in vaudeville and costume farce. He toured Australia, New Zealand, the United States of America and, during World War I, South Africa but never achieved major success' (Coral Lansbury ABD; vol 8 1981, p.416).
- NB: The South African tour, as with the USA, was undertaken in the early 1920s and not during World War I. Edwards was also best known throughout his career as a vaudeville sketch actor. Like most other Australian variety theatre performers, he was forced to be versatile in order to continue working, and in this respect he could be called on to sing, dance, present comedy and patter routines, and do whatever else may have been required of him. No reviews or advertised engagement billings, however, have identifed him as being an acrobatic dancer (a highly skilled specialty act).
(ii) 'Calling herself Nell Stirling, she was engaged by Harold Parks (an unsuccessful actor known as George Edwards) as his assistant in variety acts' (Martha Rutledge ABD; vol 16 2002, p.311).
- NB: Stirling was Edwards's stage partner in sketches not an assistant.
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(iii) 'The years went by without many memorable moment. [Edwards] worked without particular distinction in practically every branch of theatre - comedy and drama, mucial comedy and vaudeville, and he learned to dance. But there were no high points.... When a 13 year-old Neva Carr Glynn gained her first professional engagement - in the chorus line of a pantomime for Fullers, at the Majestic Theatre, Newtown, in 1924 - George Edwards was in the company; but he still hadn't made star billing. In 1931 he considered his position and the future looked bleak' (Richard Lane, The Golden Age of Australian Radio Drama, p.31).
- NB: As the above biography demonstrates, Edwards and Parkes were regarded as feature acts on both the Fullers and Tivoli circuits at least as early as 1916. Their photographs appeared on the front cover of Australian Variety on at least two occasions: 5 July 1916 (with the caption 'Re-engaged [by the Fullers] for another 12 months') and the prestigious end-of-year issue for 21 December 1917. Their record-breaking eight-week season at the Fullers Majestic Theatre in Adelaide in 1919 indicates that the act was still considered a major drawcard (see Australian Variety 23 October 1919, p.12.). In the same issue (which promotes Edwards's Mixed Goods revusical on the front cover), another critic wrote, 'Edwards and Parkes vie with the best for headline honours. Here is an act that is to be commended for its originality and ability. Miss Parkes, one of the best-lookers in vaudeville, is also a highly capable actress and is an excellent feeder to hubby George (without doubt one of Australia's most versatile performers)' (p.9). Other published reviews and articles demonstrating their industry status include 'Music and Drama,' Brisbane Courier 17 September 1921, p.13 and Green Room June 1922, p.22.
2.2 Variations in the spelling of the names Harold Parks (commonly Harold Parkes) and George Edwards (often George Edwardes) occur frequently throughout Edwards's career and in the years since his death. The confusion over Parks/Parkes may have stemmed from the spelling of his first wife's stage name: Rosie Parkes. His name is certainly spelled 'Parks' on the 1925 marriage certificate he signed with Mollie Hughes (NSW Births, Deaths and Marriages - ref no: 7109/1925). The additional 'e' in Edwards appears to have been more common during his early career ca. 1913 to the mid-1920s. It is not clear if this was originally Edwards's preferred spelling or simply a common mistake made by others. The Australian Dictionary of Biography entry on Edwards is somewhat misleading in that it implies that Parks decided to change his name to George Edwards in 1931, 'not bothering to dispel popular confusion with the celebrated George Edwards [sic], London theatrical entrepreneur' (n. pag.). As this entry demonstrates, however, Parks began using the stage name George Edwards from 1913 onwards. The ADB entry confuses his decision in the early 1930s to finally have his name legally changed by deed poll.
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Alternative versions of Nell Stirling's birth name appear in various publications, including George Edwards's ABD entry (Malmgrom), The Golden Age of Australian Radio Drama (Malgrom), and Billy Moloney's Memoirs of An Abominable Showman (Malgram). This entry cites her name as spelled in the marriage certificate she and Edwards signed in 1934 (ctd. New South Wales Birth Deaths and Marriage Index; registration number - 5887/1934).
For further details on Nell Stirling, see Martha Rutledge's entry in ABD online or in the print publication (vol 16, 2002, pp.311-312).
2.3 All of Edwards's early radio shows were broadcast live. In later years (ca. 1937 onwards), the serials were pre-recorded by Columbia Records and sold to radio networks throughout Australia and New Zealand.
2.4 Although little is yet known of Edwards's brother Lew Parks, an Australian Variety and Show World article (23 October 1919, n. pag.) suggests that he was well known both in the theatrical industry and by the general public. The article records that 'It is gratifying to note the success of [Edwards and Parkes], as George Edwards is a native of [Adelaide], being born in a suburb called St Peters (near where the "big oranges grow," and where other celebrities like Lew Parks, Beaumont Smith and the writer! first saw light).'
2.5. Billy Moloney recalls the start of the Edwards and Stirling partnership in his book, Memoirs of an Abominable Showman:
I was only a minor light myself, but can at least claim credit for starting one of the greatest Australian radio teams on the road to fame. Away back in the days of the old Tivoli in Sydney we had a fairly regular act presented by George Edwards, who usually teamed up with an attractive young actress in the presentation of one-act plays of about fifteen minutes duration which fitted into the usual variety programme. George lost a succession of partners through death and misfortune, and like all other artists fell on evil days when the talkies started to boom. He couldn't find a partner and couldn't find a job. The Tivoli General Manager, Jack Musgrove, had a soft spot for Edwards, and in my capacity as booking manager of the theatre, I was often reminded to see if I could find the partner and the job for the actor. Neither of us had much luck until I thought of a young girl, the daughter of Musgrove's stock-broker who had been trying to get on the stage in one - any one - of J.C.W. Ltd's several theatres in the city. "How about Nell Malgram?" [sic] I asked Musgrove.... "Great idea!" [he said]. "See what George Edwards thinks of it." George was delighted. Nell joined him in one act vaudeville playlets. Then they tried their luck putting on a radio show in a Sydney suburban store, the Hub, Newtown, and made a big hit. If his plays could be a hit on stage, why not in regular radio series? George and Nell who changed her name to Sterling, progressed from triumph to triumph and George developed his ability to present a dozen different voices (pp.138-139).
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The reference to Jack Musgrove indicates that Edwards and Stirling must have begun their partnership no later than 1929. According to Frank Van Straton, Musgrove remained with the Tivoli circuit after his cousin Harry G. Musgrove went bankrupt and was subsequently forced to sell his interests in the organisation to J. C. Williamson's Ltd. Jack Musgrove was persuaded by Williamson's chairman George Tallis to take over as general manager of the firm's newly formed theatrical arm, J. C. Williamson's Vaudeville Pty Ltd (which traded as Tivoli Celebrity Vaudeville). He remained with the company until it was forced to close down its vaudeville operations in 1929.
Several issues within Moloney's account of Edwards's career require clarifications. These are:
(i) His statement that the Hub in Newtown was a store is erroneous. Previously known as the Bridge Theatre, it was built by Harry Clay in 1912 and used exclusively as either a live theatre or cinema up until the 1980s.
(ii) The claim that Edwards lost a succession of partners is misleading, because it should refer only to his two principal partners, Rosie Parkes and Molly Hughes (also his wives). All other on-stage partners (ca. 1927-1930) would have very likely been temporary associations anyway.
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3. ARCHIVES AND ON-LINE RESOURCES:
3.1 Australian Old Time Radio Shows Group. This website contains an incomplete, but nevertheless extensive, listing of Edwards's radio productions from 1931 to 1953, including his roles as an actor.
3.2. Calloway Centre Archive, The University of Western Australia. See below for sound recording holdings.
3.3 Library of Congress. See below for sound recording holdings.
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4. RECORDINGS:
The following recordings are available commercially and/or through various Australian libraries]. All dates indicate first year of broadcast only.
Compilations (compact disks):
- Stars of the Australian Stage and Radio: Volume 1. Larrikin, CD, LRH 429. [Series: Warren Faye Presents Yesterday's Australia] ('Snake Gully Home of Mine').
- Stars of the Australian Stage and Radio: Volume 2. Larrikin, CD, LRH 430. [Series: Warren Faye Presents Yesterday's Australia] ('Gorblimey').
Original radio recordings (vinyl):
Callaway Centre Archive, The University of Western Australia: The centre holds sound discs produced by Edwards and the George Edwards Players, including:
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Allan Armadale (1949) Episodes 1 and 2.
- Bleak House (1944) Episodes 3 and 4.
- Courtship and Marriage (1947) Episodes 873 and 874.
- Dad and Dave from Snake Gully (1937) Episodes 7, 8, 1022, 1023, 1330, 1331, 1332, 1333.
- Flower of Darkness, The (n. yr.) Episodes 1 and 2.
- Keys on the Case (1952) Episodes 1 and 2.
- January's Daughter (n. yr.) Episodes 3 and 4.
- Jezebel's Daughter (1941) Episodes 1 and 2.
- Lady, The (1943) Episodes 37 and 38.
- Man in the Dark (1943) Episodes 1 and 2.
- Martin's Corner (n. yr.) Series 3, episodes 7, 8, 113, 114, 153, 154.
- Pace that Kills, The (1946) Episodes 1 and 2.
- Racing Harcourts, The (1945) Episodes 1 and 2.
- Search for the Golden Boomerang, The (1940) Episodes 1262, 1263, 1440, 1441, 1442, 1443.
- These Men Tell Tales (1947) 'Joe MacFadden,' Part 1 and 'The Little Black Book,' Part 1.
- Thundering Hooves (1948) Episodes 1 and 2.
- Two Lives Have I (1947) Episodes 5 and 6.
The National Film and Sound Archive:
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Courtship and Marriage (1947) Series 1, Episodes 775-884.
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Dad and Dave from Snake Gully (1937) Episodes 3-2275 [slightly incomplete].
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Martin's Corner (1939) Episodes 3-146 [series unknown].
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Search for the Golden Boomerang, The (1940) Episodes 748-1441.
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Tradesmen's Entrance (1941).
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Library of Congress, Washington, DC (USA): The Library's Recorded Sound Centre and Barry Brooks Collection hold sound discs produced by Edwards and the George Edwards Players, including:
- Adventures of Marco Polo (1940) Episodes 1-36) aka Adventures of Marco Paolo.
- Afloat with Henry Morgan (1947) Episodes 1-4, 7-16, 27-31, 35-40, 43-46, 51-52.
- Aladdin and His Wonderful Lamp (n. yr.) Episodes 1-4.
- Birth of the British Nation, The (1935) No 1, Parts 1-2: 'Julius Caesar.'
- Black Arrow, The (1952). Episodes 1-4.
- Black Lightning (1952) Episodes 1-4.
- Courtship and Marriage (1947) Episodes 1-2.
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Corsican Brothers, The (1945) Episodes 51-52.
- Forrester's Wharf (n. yr.) Episode 1.
- Great Expectations (n. yr.) Episodes 1-4.
- Hunchback of Notre Dame (1935) Episodes 25-26.
- Kidnapped (135) Part 1.
- Knights of the Round Table, The (1937) Episode 1, Parts 1-4: 'The Coming of King Arthur.'
- Lord Oakburn's Daughters (1948) Episodes 1-4.
- Messenger, The (n. yr.) Episodes 1-4.
- Mystery Club, The (1937) Parts 1-2: 'The Spark of Genius.'
- Old Goriot (1949) Episodes 1-4.
- Old Man River (1948) Part 1: 'Orleans by the Loire.'
- Paul Clifford (1943) Episodes 1-2.
- Son of Porthos (1950) [possibly the complete series]
- Story of Charles Peace, The (n. yr.) Part 1.
- St Ronan's Well (1948) Episodes 1-4.
- Tales from the Pen of Edgar Allan Poe (1941) Episodes 1-4.
- Trilby (1949) Episodes 1-4, 7-8, 11-12, 15-18, 21-30.
Online Resources:
Several of George Edwards's radio series can accessed via the interent through various commercial or government-sponsored websites. Several sites also offer free mp3 downloads. Series with complete episodes available online include:
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Afloat with Henry Morgan (1947).
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Corsican Brothers, The (1945).
- Dr Jekyll and Mr Hyde (1943).
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Frankenstein (1938).
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Entries connected with this record have been sourced from on-going historical research into Australian-written music theatre and film being conducted by Dr Clay Djubal.
Details have also been derived in part from Coral Lansbury's entry on George Edwards in the Australian Dictionary of Biography Vol 8 (1981), pp.416-417; Martha Rutledge's entry on Nell Stirling in the Australian Dictionary of Biography Vol 16 (2002), pp.311-312; and The Australian Old Time Radio Shows Group website.~