Hanley Goes to Hollywood

Hanley Stafford, c.1945
Source: CBS Radio, Public Domain
via Wikimedia Commons

Alfred John Austin had been born in Hanley on 22 September 1899, the eldest child of George and Emily Austin, he had a younger sister named Ann. In 1911 the family emigrated to Canada, settling in Winnipeg, Manitoba, where the father George initially worked on the railway and later as a caretaker. Their settled life, though, was interrupted by World War One. It seems that young Alfred was keen to go to war as on 16 August 1915, he attested for the Canadian Army, claiming he was 19, though he was actually a month shy of his 16th birthday. Two days later his father George also attested for the army, though the two were posted to different units, Alfred joining the 79th Cameron Highlanders of Canada with whom he went to serve in France. In 1916, his father George Austin was killed in action, while Alfred for his part is said to have been wounded in the Third Battle of Ypres and his papers indicate that in 1917 he also suffered from shell shock. It was also in 1917, whilst probably visiting friends and relatives in the Potteries, that Alfred married his first wife Doris Roberts at St George’s Church, Newcastle-under-Lyme on 23 December. He returned to France, eventually rising to the rank of Company Sergeant Major, but got through his remaining service unscathed.

Returning home to Canada with his new wife in 1919, he settled back in Winnipeg where he and Doris had a son, Graham, born in 1920. He had started acting with the Winnipeg Permanent Players on his return and through them, he got a job with a summer stock company that toured western Canada, but when the company folded he had to make a living in other ways, taking jobs working in wheat fields, hauling freight and working as an office stenographer. In search of more acting work, in 1922 he took his family to live in the USA, settling in California. Five years later on his application for US citizenship, to give himself a memorable stage name and in a nod to his place of birth, he stated that he wished to be known henceforth (in the States, at least) as Hanley Stafford. He then played in summer stock productions for eight years and then in tent shows. He was appearing in radio plays in Los Angeles by April 1932 and briefly went to Phoenix to manage a stock theatre company, but returned to Los Angeles in August to resume his stage and radio work. His career was going well, but at the expense of his marriage it seems and in 1934, he and Doris were divorced. The next year he married his second wife Bernice Bohnett.

After starring in the New York radio detective series Thatcher Colt from September 1936 to March 1937, Stafford again returned to Los Angeles and there took on a number of radio roles, providing voices for amongst others Speed Gibson and The Shadow of Fu Manchu. In December 1937, he also landed the role of Lancelot ‘Daddy’ Higgins, the oft-harassed father of mischievous Baby Snooks, a young girl played convincingly by a grown actress, Fanny Brice, originally in a series of sketches on The Good News Show and later on The Baby Snooks Show. It was the role that made his name and alongside his other work Stafford continued playing the part until the final broadcast on 22 May 1951, two days before the sudden death of star Fanny Brice. In 1939, Stafford also took on another notable role as J. C. Dithers, the boss of Dagwood Bumstead, in the popular radio comedy Blondie, again a part he would play for many years. That year, his second marriage failed and in 1940 he married Veola Vonn, who played Dimples Wilson in Blondie. They would stay married until Stafford’s death.

Between 1950 and 1963, Stafford also appeared as a guest star or in bit parts on various television series, these included The Popsicle Parade of Stars and Hollywood Premiere Theatre, episodes of  Cheyenne, Maverick, Shirley Temple’s Storybook, Sugarfoot, and 77 Sunset Strip, The Brothers, The Betty Hutton Show,  Angel, The Millionaire. and The Lucy Show. He also appeared in minor roles in several light-weight films such as Lullaby of Broadway starring Doris Day, A Girl in Every Port, Just This Once, Tell it to the Marines, Francis Covers the Big Town and The Affairs of Dobie Gillis. These, though seem simply to have been strings to his bow, radio being his preferred medium. In 1960 for his radio work, Hanley Stafford was awarded a star on the Hollywood Walk of Fame. This was unveiled on 2 August 1960 at 1640 Vine Street, Hollywood, California; the venue was fitting as in Stafford’s heyday, the area around the intersection of Sunset Boulevard and Vine Street was known as ‘Radio Row’ housing the four large radio stations in the city where he had worked for the past two decades.

Hanley Stafford, born Alfred John Austin, died at home from a heart attack on 9 September 1968, in Los Angeles, California, USA, aged 68. He was cremated and his ashes placed alongside those of his mother in the Columbarium of Heavenly Peace, Forest Lawn Memorial Park, Glendale, Los Angeles. 

Reference: Wikipedia entry for Hanley Stafford; IMDb entry for Hanley Stafford; Find-a-Grave entry for Hanley Stafford.

Buffalo Bill Rides in... and Bows Out

Buffalo Bill and some of the Red Indians in 1890
Source: Wikimedia Commons

On 17 August 1891, former hunter and US army scout turned impresario, William Cody, better known as Buffalo Bill, opened his 'Wild West Show' for the first of six days of performances in the Potteries. The show was making a tour of Britain and had arrived from Sheffield several days earlier in three trains comprising 76 carriages, bearing 250 performers, several hundred horses and dozens of bison. Cody and his company also brought enough scaffolding with them to build a pavilion that could seat 15,000 spectators, which was quickly constructed not far from the train station in Stoke by local workers. A Red Indian village was also built nearby for the many native American performers and their families, which became a great attraction during their stay. In the main pavilion there were two shows a day at 3pm and 6pm and though it rained on the first day the weather improved as the week went on. Sure enough, as elsewhere, thousands of local people turned up to watch the likes of Annie Oakley with her sharp shooting, cowboys riding bucking broncos and especially the Red Indians riding around the pavilion, whooping their war cries as they attacked stage coaches or a pioneer cabin. At the end of each performance, Buffalo Bill himself, elegantly clad in his buckskin suit, rode into the arena mounted on a white horse and was wildly cheered by the crowd as he made his parting bow.

Thirteen years later on 21 October 1904, the people of the Potteries witnessed the last ever performance by 'Buffalo Bill's Wild West Show' to be held in Britain. The season had started here earlier that year on 25 April, most of the animals and some of the cowboys and stable hands having overwintered at Etruria, while the bulk of the company had gone home. Now after their last tour of the country, the show made a return to the area prior to departing for the Continent. They signed off with two final performances held on this day at the Agricultural Show Fields at Birches Head. The evening performance attracted a crowd of 12,500 people and at the end of the show the performers were bid goodbye by the audience spontaneously singing Auld Lang Syne.  

Reference: Staffordshire Sentinel, 17 – 18 August 1891; Staffordshire Sentinel, 22 October 1904.

Here Lies (bits of) The Younger Despenser?

In the 1970s, the jumbled bones of a man, minus a skull, several vertebrae and a thigh bone, were unearthed at Hulton Abbey. That they had been buried in the chancel immediately suggested that the remains were those of either a wealthy member of the congregation, or one of the Audley family who had endowed the abbey. In 2004 the remains were transferred to the University of Reading, where a closer examination of the bones suggested that the body had been hung, drawn and quartered. This unusual and brutal form of execution was normally reserved for higher status individuals and inflicted for the most serious of state crimes such as treason. Radiocarbon analysis dated the remains to between 1050 and 1385, and further tests suggested they were those of a man over 34 years old.

Hugh Despenser the Younger in the Founders and Benefactors
Book of Tewkesbury Abbey, c. 1525.
Source: Wikimedia Commons.

Who the man was was unknown, though various candidates from the Audley clan were put forward, but each in turn was ruled out. Then, in an academic article published in 2008, Dr Mary Lewis of the University of Reading suggested that the remains could be those of  Hugh Despenser the Younger. Despenser was the son of Hugh Despenser the Elder, Earl of Winchester, and was related by marriage to the Audley family. He became a favourite, and possible lover, of Edward II and as a result held great influence at court. Despenser's greed, duplicity and politicking however, earned him numerous enemies, including many of his own relations and more dangerously Edward II’s estranged wife Queen Isabella. Despenser’s crimes finally caught up with him when, in 1326, Isabella and her ally, Roger Mortimer, 1st Earl of March, arrived in England at the head of an army of mercenaries, deposed the king and sentenced the Despensers, father and son to death as traitors. On Queen Isabella's orders, the Younger Despenser was hung, drawn and quartered.

‘On 24 November 1326…Despenser was roped to four horses…and dragged through the city to the walls of his own castle, where enormous gallows had been specially constructed…Despenser was raised a full 50 feet…and was lowered onto the ladder. A man climbed along side him sliced off his penis and testicles, flinging them into the fire below…he then plunged a knife into Despenser's abdomen and cut out his entrails and heart…the corpse was lowered to the ground and the head cut off. It was later sent to London, and Despenser's arms, torso and legs were sent to be displayed above the gates of Newcastle, York, Dover and Bristol.’

Dr Lewis based her identification on Despenser's relationship to the abbey's benefactors the Audleys (Hugh de Audley was his brother-in-law, but the family was not on the best of terms with Despenser, having been victims of his covetousness), the age of the remains, the age of the individual (Despenser was 39 at the time of his execution) and the cause of death, while the missing bones were cited as proof by their very absence. When in 1330, Hugh de Despenser's widow, Eleanor de Clare, petitioned the crown for the return of her husband's remains, she is said to have only received his head, a thigh bone and a number of vertebrae which were interred at Tewksbury; these match the parts missing from the Hulton skeleton.

The identification has yet to be proven conclusively by comparing the two sets of remains, but it is an interesting analysis and it is fun to speculate that the partial remains of one of English history’s bad boys somehow wound up being buried in a small, obscure abbey in North Staffordshire.

Reference: Mary E. Lewis,  'A traitor’s death? The identity of a drawn, hanged and quartered man from Hulton Abbey, Staffordshire', published in Antiquity. A quarterly review of archaeology vol. 82 (2008) p. 113-124.

Boots! Boots! - A Potteries World Premier

Probably at some point in early to mid July 1934, Burslem hosted the world premier of the first film of an up-and-coming star, when, according to report, the Palladium Cinema in in Waterloo Road showed a new British comedy entitled Boots! Boots! The star of the production was George Formby Jr, the son of a notable music hall performer, who would go on to be one of the biggest home grown film stars of the early 20th century. In his most famous films, Formby was invariably cast as a gormless but cheeky character with an infectious grin and an astonishing skill with a ukulele, on which he played numerous very catchy tunes; his films still come over surprisingly well today. This early film, though, was a far cry from those later glossy productions. Apparently filmed over a fortnight on a shoestring budget in a room above a garage, the film has the feel of a review, with very little plot. George plays John Willie (a character invented by his father) a hotel boots who indulges in a number of comic encounters with the hotel manager, the chef, some of the hotel guests and a scullery maid (played by Formby's formidable wife Beryl). Discovering John Willie's prowess with the ukulele and the maid's dancing skills, the manager puts them in the hotel's cabaret.

George Formby later described Boots! Boots! as 'a lousy film', and certainly it seems very cheap and cheerful today, but on it's opening it proved to be a great hit across the country and effectively launched Formby's cinema career. By his own account he himself saw what a draw the film was when he secretly came to the Potteries to see the film open and was astonished to find that it was playing to packed houses. A Sentinel reviewer described it as ‘a distinctly happy piece of entertainment. There are plenty of laughs, an abundance of good tunes and the settings are up to standard for a film of this type.’

The reason why the exact date of the premier is unknown seems to be because the Palladium Theatre often went through periods when it did not advertise in the Sentinel, 1934 being one of these times and as a result the date is lost. The film was subsequently shown at the Roxy in Hanley for three days from 19 July and at the Regal, Newcastle on Bank Holiday, Monday, 6 August 1934, having gone on general release on 30 July. 

Reference: Staffordshire Sentinel 7 August 1934, p.3; correspondence of Jonathan Baddeley and David Rayner in The Way We Were supplement to the Sentinel, partially reprinted in The North-West George Formby Newsletter 36, Vol. 3, No. 12, June 1998, p.4.

Old News from the Potteries

Regular newspaper coverage of events in the Potteries only really started at the end of the 18th century with the advent in 1795 of the Staffordshire Advertiser paper, though as this was published in Stafford, it's coverage of the goings on in the north of the county was limited to the most noteworthy events. Another half century would pass before more local newspapers were being produced in Hanley, Stoke and Burslem. However, histories, travellers journals and some other national or regional papers occasionally carried tales from the Potteries from this early period giving us fleeting glimpses into life in the area.

* * * * *

The King's Touch

It was widely believed in the past that the King's touch could heal certain ailments. To this end on 29 August 1687, the minister and churchwardens of Stoke-upon-Trent gave John Bell of Cobridge a sealed certificate whereby he could obtain the King's sacred touch for his son Samuel Bell, who suffered from 'the King's Evil' i.e. scrofula. 

(John Ward, The History of the Borough of Stoke-upon-Trent, p.281)

John Wesley is Pelted in the Potteries 

On 8 March 1760, the Reverend John Wesley, the founding father of Methodism, visited Burslem for the first of many visits to the region. He described Burslem as 'a scattered town, on the top of a hill, inhabited almost entirely by potters', a large crowd of whom had gathered to hear him at five in the evening. He noted that great attention sat on every face, but also great ignorance which he hoped he could banish. 

The next day Wesley preached a second sermon in Burslem to twice the number of the day before. 'Some of these seemed quite innocent of thought. Five or six were laughing and talking till I had near done; and one of them threw a clod of earth, which struck me on the side of the head. But it neither disturbed me nor the congregation.' 

(John Wesley, Journal, 8-9th March 1760)

The First Cut

After receiving the royal assent two months earlier for construction of a canal connecting the rivers Trent and Mersey, on the morning of 26 July 1766, at a site just below Brownhills, pottery manufacturer Josiah Wedgwood cut the first sod of what would in time become the Trent and Mersey canal. James Brindley, the engineer who would oversee the canal's construction, and numerous other dignitaries were present, many of whom would also cut a piece of turf, or wheel away a barrow of earth to mark the occasion. In the afternoon a sheep was roasted in Burslem market place for the benefit of the poorer potters in the town. A bonfire was also lit in front of Wedgwood's house and many other events took place around the Potteries by way of celebration. 

(Jean Lindsay, The Trent and Mersey Canal, pp.31-32)

News from the North

'As you often give me London News, I will give you some from this Country, which has of late made a Figure. This Neighbourhood has for many Years made Pots for Europe, and will still do so, though the King of Prussia has lately clapt 28 per Cent, upon them. Our Roads were so bad that nobody came to view the Place where the Flint Ware is made, but now we have Turnpikes upon Turnpikes, and our Potteries are as well worth seeing as the Stockport Silk-Mills, or the Bridgewater Navigation, which we intend to beat hollow by Lord Gower's, now begun in our Meadows, and advancing apace towards Harecastle, on the other Side of which Multitudes of Men are at work, and before Christmas we shall have cut through the Hill, and made another Wonder of the World. There are already 100 Men employed on our Side, and 100 more will be added as soon as Wheelbarrows can be procured for them. Saturday last we had brave Sport at Earl Gower's, where 100,000 Spectators were present at the Prison-Bars played in Trentham Park. Among them were the Dukes of Bedford and Bridgewater. The Prizes were Ten Carline Hats, with gold Loops and Buttons, given by the Earl. The Cheshire Men were active Fellows, but unluckily their Lot was to wear Plod Drawers, to distinguish them from their Antagonists, which made the Crowd oppose their getting the Honour of the Day. During this Game, my Friend Bucknall loft his Boy, about Eight Years of Age, who was suffocated by going aslant down a Sort of a Cave into an old Coalpit, the top of which was fallen in. The Man that ventured to fetch him out, found a Number of Birds, supposed to have dropped down there by the sulphurous Stench issuing from the Pit. We have much Hay, and Cheese is plenty, and Corn without Barn-room, nor do we want Money. 

P. S. I have just seen a Hen, which laid Twelve Eggs only, from which she has brought up Twelve Cock Chickens, which is looked upon as somewhat remarkable.' 

(Extract of a Letter from Burslem,14  August 1766, Derby Mercury, Friday 29 August 1766, p.2)

Tunnel Vision

On 1 July 1772, an anonymous correspondent writing from Burslem related what he had seen the day before when he and some companions paid a visit to the first incarnation of the Harecastle Tunnel, situated between Tunstall and Kidsgrove and then under construction as part of James Brindley's Trent and Mersey Canal. 

'Yesterday we took a walk to the famous subterraneous canal at Harecastle, which is now opened for a mile on one side of the hill, and more than half a mile on the other, of course the whole must be compleated in a short time. As it is not yet filled with water, we entered into it, one of the party repeating the beautiful lines in Virgil, which describe the descent of Æneas into the Elysian fields. On a sudden our ears were struck with the most melodious sounds. - Lest you should imagine us to have heard the genius or goddess of the mountain singing the praises of engineer Brindly, it may be necessary to inform you, that one of the company had advanced some hundred paces before, and there favoured us with some excellent airs on the German flute. You can scarcely conceive the charming effect of this music echoed and re-echoed along a cavern near two thousand yards in length.' 

(Leeds Intelligencer, Tuesday 14 July 1772, p.3)

A Fungi to Be With

'A few days ago, a mushroom was got at Stoke-upon-Trent, in the county of Stafford, whose diameter was 5 inches, and 30 inches in circumference, it weighed 16 ounces. The above is very authentic.' 

(Leeds Intelligencer, 5 September 1775, p.3)

All in a Spin

'The following extraordinary phenomenon was lately observed here; at the latter end of last month, a field of hay belonging to Mr. J. Clark, near Burslem, was carried off by a whirlwind; the day when it happened was exceedingly calm, scarce a breath of air to be perceived. The people who were at work in the field observed, that in one part the hay began to be agitated in a small circle, at every wheel it increased in size and velocity, continually sucking more hay into its vortex; after a considerable time it began to ascend, taking along with it a silk handkerchief which hung rather loosely about the neck of one of the men who was at work; it continued ascending till entirely out sight, and in about an hour it began to descend, and continued to so for an hour's space, alighting at, or within a few hundred yards of the place from whence it had been carried up, so that the owner lost but a very trifling quantity of his hay.' 

(Hereford Journal, 23 August 1781, p.2)

A Tragic Accident

The following melancholy tale from the Potteries is related in a letter dated August 14 1785. 'As Ellen Hulme, a poor woman of Lane End, was returning to her habitation late last night, with her infant, six weeks old, in her arm, she unfortunately stepped into a coal-pit, which shamefully lay open close to the road, and even with the track which led to the poor creature's house. Her husband, whom she had been to fetch from an alehouse, immediately alarmed the neighbourhood, when her distressing cries were very distinctly heard from the bottom of the dreary pit every effort was attempted by the hardy colliers to fetch her up, but the damp prevailing very much, obliged them to use means to extract it, after which was found the mother with her infant upon her arms, both dead.' 

(Sussex Advertiser, 22 August 1785, p.3) 

A Hard Winter

During the harsh winter of 1794-1795, the better off inhabitants of Hanley and Shelton formed a committee which started a subscription list for the temporary relief the poor who were suffering great hardship during the cold weather. By February 1795 the committee had collected an impressive £150, enough to enable them  to supply nearly 500 local families with meat, potatoes, and cheese. The Wedgwood family gave a liberal amount and through them a Mrs Crewe kindly added a welcome donation of a quantity of flannel clothing. The Marquis of Stafford aided the relief fund by ordering 100 tons of coal to be at the distribution of the committee. 

A month later, in an issue of the Staffordshire Advertiser that noted that thermometers in Macclesfield had measured temperatures as low as -21° F (-29.4° C), the fearsome nature of the winter was highlighted dramatically by one small but rather macabre snippet of news. 'Through the inclemency of the night of Saturday last [i.e.,14 March] a poor man perished betwixt Hanley and Bucknall. He unfortunately lost himself in attempting to cross the fields, and was found on Sunday standing upright in a snow drift, with his hand only above the surface.' 

(Staffordshire Advertiser, 7 February 1795, p.3; 21 March 1795, p.3.)

Wild Fire

In late March or early April 1799, a dreadful accident happened in a pit at Lane End, the property of John Smith, Esq. Four men were blown up, and two them terribly burnt by what the colliers of the time described as 'the wild fire'. The explosion was loud, and the concussion so great that nearby houses shook violently. Two of the men were not expected to recover, while the other two were thrown to a considerable distance, and left badly bruised. The reporter noted that their hats were blown to the distance of 70 yards from the mouth of the pit. 

(Staffordshire Advertiser, Saturday, 6 April 1799, p.4)

Elizabeth Smith and the Mason Connection

In the early 2000s I was contacted by Ernie Luck a collector and researcher of Mason's pottery who had been looking into a vague connection he had heard of existing between Captain E. J. Smith of the Titanic and the Mason and Spode pottery dynasties, a link he had gone on to substantiate. As well as providing me with much other information that helped me in my own research, Ernie subsequently sent me the following article detailing the Smith-Mason connection which he had written for the Mason Collector's Club newsletter in 2003 and he has kindly allowed me to reproduce it here in full.

Elizabeth Smith (1855-1942) was the eldest of nine children born to Captain Smith's uncle George and his wife Thirza nee Leigh, and though her own story is nowhere near as glamourous as that of her famous cousin it is nevertheless an interesting piece of local history showing the connections - though often distant and accidental - that could build up between disparate families in such a self-contained region as the Staffordshire Potteries once were.

----------

Charles Spode Mason and his Descendants

by

Ernie Luck

Charles Spode Mason was the only son of Charles James Mason’s marriage to his first wife Sarah Spode. I have been unable to trace a record of his birth or his christening, but a consensus of the age attributed to him on various documents suggests he was born in 1820 or 1821.

Despite the ultimate bankruptcy of the business, his father Charles James was, by and large, a very wealthy and successful business man.  By contrast Charles Spode Mason appeared to have none of these attributes.  This may have been due to his privileged upbringing leading to slothful ways, or maybe Charles James was too busy with the business to ensure his son applied himself to his education; whatever the reason, the evidence, gleaned from a variety of sources suggests that he had neither a successful marriage nor a successful business.

Charles Spode did not get married until 1856 – the year of his father’s death – when he was 35 years old.  He married Elizabeth Leese, a sixteen year old, at St Paul’s Church, Stoke on Trent, on the 21 September.  Their only child, Mark Spode Mason, was born on 11 Feb 1858 at Terrace Buildings, Fenton.  Incidentally, Terrace Buildings Works was one of the lesser known Mason manufactories which, according to Reginald Haggar, was built by Charles James in 1835 and vacated in 1848.

Although Charles Spode was described as a Solicitor on his marriage certificate, the 1861 census return tells a different story because on that document he is described as having ‘No profession or trade’.  But it is the transcript of a letter held in the Haggar Archives which provide a rather damning insight into his professional status.  The letter was written in July 1933 to J. V. Goddard from a Mr J. Beardmore.  He writes ‘Midway between 1860 and 1870, it was intended that I should study law, and I was for a time in the offices of a firm of lawyers, and Mr Charles Mason called several times, a ‘wreck’, the butt, I fear of the clerks who spoke of him as a ‘broken down solicitor’, meaning perhaps ‘not legally qualified’’.  Things must have continued to go down hill for Charles because when he died in 1878 at the age of 57 years, he was a resident of the Stoke upon Trent Workhouse. 

My research of Charles’s son Mark Spode Mason was only accomplished with the assistance of his great-granddaughter Mrs Marjorie Burrett, who lives in East Yorkshire and a distant relative who lives in New Zealand (one of the Quaker Mason’s).  Without their prior research, progress would have been slow, if not impossible.  Although their research was accurate in essentials, the devil lay in the detail and my efforts to put some ‘meat on the bones’ proved to be not as easy as I had anticipated.  With two children born out of wedlock, his propensity to move frequently, and his use of ‘James’ as a first name, trying to find him or the family on the census was a researcher’s nightmare.

Mark married Elizabeth Smith at St Giles Church in Newcastle-under-Lyme on 23 April 1877. Elizabeth’s younger brother and sister, William and Emily were the witnesses.  Elizabeth was connected with another famous person; she was a cousin of Edward Smith, Captain of the ill-fated Titanic.

Left Elizabeth Smith (standing) and her sister Sarah, right Commander E.J. Smith. Elizabeth's marriage to Mark Mason forged a link between the Mason and Spode dynasties and the captain of the Titanic.

Elizabeth had two children before her marriage to Mark and there must be a serious doubt as to whether he was the father of Elizabeth’s first child, Ann, as he was only 16 years of age when she was born. Ann, was born on 28 July 1874 in the Union Workhouse, Chell (near Tunstall) and registered as ‘Ann Smith’ – no fathers name was provided. It looks as if Elizabeth’s family could not afford to provide for her and her child, or perhaps they threw her out because of what then, would have been a shameful event - their daughter having a child out of wedlock. How times have changed. On the 1881 census Ann, recorded as ‘Anne Smith Mason’, was living with her grandparents, George and Thirza Smith in May Bank, Wolstanton.

Elizabeth’s next child, Lydia Mason Smith, was born at May Bank on the 4 March 1877, seven weeks before her marriage to Mark.  On the 1881 census she is staying at Goose Street, Newcastle under Lyme with her grandmother, Elizabeth Mason, widow of Charles Spode Mason.

Mark and Elizabeth’s third child, Florence Coyney Mason, was born on 26 March 1879 at Goose Street, Newcastle.  She was undoubtedly named after Mark’s Aunt, Florence Elizabeth Coyney.

Two years later the family had travelled up to the north east of the country and on the 1881 census, Mark, (now calling himself James), his wife Elizabeth, and two-year old Florence were staying at a lodging house in Northowram, Yorks.  Some of the occupants were described as cutlery grinders which has significance because the occupation on Mark’s death certificate was recorded as ‘scissor grinder’. Why did Mark decide to move away from the Potteries, leaving the two oldest children with the grandparents? Why call himself James?  His Aunt, Elizabeth Spode, left him an inheritance to be paid on his twenty first birthday; was there some connection, or did he leave the area because of debts?  You can but speculate.

Their next child, Elizabeth, was born at 2 Smith Street, Hartlepool, on the 1 September 1884.  Elizabeth was the only child actually registered by Mark.  The name and surname of the father is recorded as ‘James Spence Mason’ on the certificate.  The name of the Registrar was Spence, so this may possible account for the discrepancy in Mark’s middle name.

Mark and Elizabeth’s last child, Charles Spode Mason - obviously named after his grand-father - was born on 25 April 1889 at 121 King Edward Street, Grimsby.  The family had finally settled in Great Grimsby, Lincolnshire; a major fishing area.

‘At noon, on Friday, 20 February 1891, an inquest was held at the Great Coates Railway Station, before the District Coroner (Dr C. B. Moody) inquiring into the circumstances attending the death of James [Mark] Mason, 33 years of age, scissor grinder, late residing at Drakes Buildings, Grimsby.  From the evidence produced it seems the deceased, who had been peculiar in his conduct for two or three days past, was observed walking along the Railway from Grimsby to Great Coates, on Thursday morning week.  After standing somewhat irresolute on the line, he watched the morning express from Grimsby approach and deliberately flung himself in front of the Engine; the guard iron struck him on the head and turned him out of the way, and when assistance arrived some few minutes later he was found lying in a ditch beside the railway line.  Life was then quite extinct.’  

So reads the opening paragraphs of the report of the inquest.  In her testimony, Mark’s wife Elizabeth told of the great difficulty they had experienced in maintaining the family of six since Christmas and how this had preyed on Mark’s mind.  At the end of the proceedings, the jury, in an act of generosity, kindly devoted their fees to Elizabeth because of her straightened circumstances.  There were no social services to fall back on, in those days. 

It is only recently that the true circumstances of Mark’s death have been unearthed.  Prior to this the family had always understood that Mark had been killed at a level-crossing on his way home – ‘drunk as usual’.  No doubt the truth had been suppressed to avoid causing the children any undue distress.

Mark’s widow Elizabeth remarried the following year - with five children to bring up perhaps out of necessity.  She married George William Johnson, a fisherman, on the 25 Dec. 1892 at St John’s Church, New Clee.  By the time of the 1901 census, Elizabeth had two more children, a son, George Johnson, 8 years’ old, and a daughter, Gertrude Johnson, 5 years old.  It was Gertrude who cared for her mother when she became old and infirm.

By the turn of the century, nearly all of Mark’s children had left home. Lydia had married John Cardy in 1896 and by the time of the 1901 census had borne three offspring; John, Florence Annie and George Hugh.  It is possible more children followed.

Florence Coyney Mason married George Illingworth on the 1 January 1908, at the Church of St Peter in Bradford. They continued to live in the Bradford area and, as far as I know, they did not have any children.

Elizabeth married Swanson Carnes Trushell on the 26 August 1901 and had seven children over the next twenty years. Their eldest, Sidney Edward Trushell, is the father of Marjorie Burrett nee Trushell, who has provided me with a lot of information.  Most, if not all, of the descendants of Elizabeth Mason and Swanson Trushell are known right up to the present time.  They are too numerous to detail, but are illustrated on the accompanying family tree, although the most recent members of the family have been omitted to protect their anonymity.  The eldest living descendant is Elizabeth’s daughter (Mark’s grand-daughter), Joyce Coyney Clarke nee Trushell.

Charles Spode Mason Junior, the youngest of Mark’s children, died of TB at the age of 36 years on 24 January 1926.  He was employed as a Brewer’s cellar man and was staying at his mother’s house at the time of his death, so presumably he had not married.

We know very little of Elizabeth Smith’s first child Ann, except that she had a family and there are descendants living in America.

Acknowledgments: My special thanks to Marjorie Burrett, (a direct descendant of Miles Mason and Josiah Spode 1) and Lyane Kendall of New Zealand, a distant relative of the Mason family, for providing details of the Mark Spode Mason family tree.  My own small contribution was to provide a little more detail on the individuals and to successfully trace the whereabouts of an inscribed pottery mug presented to Mark Spode Mason shortly after his fifteenth birthday.  The mug in question was given to The Spode Museum Trust, Stoke in 1975 by a relative, to avoid any family dispute over ownership.

References: Birth, Marriage and Death certificates and Census Returns from the Family Record Centre London; The Grimsby News Fri. 20 Feb. 1891; extract of letter in the Haggar archives from the research notes of Peter Roden

Photo of Elizabeth and Sarah Smith courtesy of the late Marjorie Burrett.

Reg Mitchell Takes the Proverbial

Colin Melbourne's statue of R. J. Mitchell
outside the Potteries Museum and Art Gallery,
Hanley.

In 1911, long before he went on to design his world-beating racing planes and later the Supermarine Spitfire, 16 year old Reginald Joseph Mitchell, served a local apprenticeship. Originally from Butt Lane near Kidsgrove, but raised in Normacot, Reg was enrolled as a lowly apprentice engineer at Messrs Kerr, Stuart and Co, locomotive engineers in Fenton. Before moving on to the drawing office where he would make his name, he like the other apprentices had to spend time in the workshops getting his hands dirty working on the firm's machines. Reg's pragmatic father Herbert saw this as a sensible grounding for his ambitious son, but young Mitchell loathed this introduction to his profession, hating the grime-caked overalls he had to wear and the monotony of the work that kept him from what he really wanted to do. He was also less than enamoured with the workshop foreman.

One of the first jobs that Reg had when he started at Kerr, Stuart was the traditional one of tea boy, brewing up for the other apprentices and the foreman, the latter, though regularly complained that Mitchell's tea tasted like piss. Tired of his grumbling, Reg decided that if that was what he thought, then that was what he would get. The next morning Reg arrived at work and as normal took the kettle to the wash room, but instead of filling it with water he urinated into it, then boiled the kettle and made tea. Warning his fellow apprentices not to drink, Reg served the foreman as usual. The man took a sip, then a larger gulp and said, “Bloody good cup of tea, Mitchell, why can't you make it like this every day?” 

Reference: Gordon Mitchell, R.J. Mitchell, from Schooldays to Spitfire, pp. 21- 25

Up, Up and Away

Balloonist Charles Green later in life.

Charles Green was quite a celebrity when he arrived in the Potteries in early October 1826. A pioneer balloonist, five years earlier, Green had become famous almost overnight when he made a special ascent into the air in his coal gas filled balloon at George IV's coronation. Since then he had become a professional balloonist, touring the country giving displays and allowing a lucky few to take a ride up with him. Now that thrill was open to the people in North Staffordshire and to one lucky passenger would fall the chance to make local history by joining Green in the first ever flight over the district.

The first ascent was to take place from Shelton late in the afternoon of Tuesday, 3rd October 1826. 'A vast concourse of persons' had assembled according to a reporter for the Staffordshire Advertiser. A carnival atmosphere prevailed, a band had been arranged to keep the onlookers entertained and enclosures had been set up for paying guests. The most exclusive of these for 'the most respectable inhabitants' was rather thinly populated at first, but started to fill up after 3 p.m., allaying fears that Green would not be fully compensated for his visit to the area. Another cheaper enclosure was also pretty well filled. Most of the locals, though, opted for a free view, an immense number of whom were camped out in surrounding fields, streets and yards, perched on roofs or leaning out of windows.

The weather was cloudy but favourable despite a brief shower which dampened those waiting for the launch. Half an hour or so before the main event a small pilot balloon was released to check on the wind direction, Green then got to work preparing the large crimson and gold striped main balloon for its trip over the Potteries. There was at this point some anxiety as to who, if anyone, would accompany Green on his historic flight. Some days earlier a suitable companion had been selected, but who this was is a mystery as the man backed out shortly before the launch and it seemed very likely that Green may have to go up alone. Indeed, the celebrated balloonist had clambered into the basket or 'car' as it was then called and was making his final adjustments prior to lift off, when the band suddenly struck up the popular Irish melody 'Fly not yet' to get his attention. A last-minute replacement had been found, the Reverend Benjamin Vale, perpetual curate of Stoke-upon-Trent had volunteered to go.

Vale was not a local having been born in London in 1787 and despite his religious credentials he seems to have been a rather prickly and erratic character, who was prone to rubbing people up the wrong way. Years earlier he had gone to Australia in hopes of setting up a ministry, but had left under a cloud when in a fit of misplaced patriotism he had illegally seized an American ship in Sydney Harbour, much to the annoyance of the local governor who had cleared the ship and who promptly sent Vale packing back to Britain. The rebuked clergyman had then served in his native London for a time before securing his position in Stoke. Years later he would become the Rector of St James Church, Longton, but his flock never seemed to have warmed to him and in 1842 his home fell prey to an angry mob during the Pottery Riots. Yet, whatever his other faults, Vale does not seem to have lacked in physical courage and after briefly justifying his decision with his anxious friends, to the applause of the onlookers he eagerly stepped forward to join Mr Green for this first historic trip.

Vale's friends crowded around the car when the clergyman had taken his seat and expressed their wishes for a safe journey. The balloon was allowed to rise into the air to a considerable height above the gathered crowd, ropes still holding it secure while it did so. Here, Mr Green released some ballast and dropped a parachute over the side attached to a basket that carried a cat, which floated safely back down to earth. After a short while suspended thus probably to give the crowd a good view of the 'buoyant and splendid machine', it was drawn back down to earth, two flags were handed over which were fixed at either end of the car, the ropes were released and with the band playing and crowd applauding the balloon rose gracefully into the air. To those on the ground the balloon remained in sight for about twenty minutes before vanishing into a cloud for ten minutes, then reappearing briefly in the distance as a dark-coloured ball. The rest of the journey was instead charted by Reverend Vale who subsequently wrote an account of the historic flight, which was printed in the Staffordshire Advertiser several days later. Shorn of its evangelical asides, it makes for an interesting first aerial view of the Potteries.

'At four o'clock the flags were presented to us, and we left the earth; the wind blowing rather to the north and east, and the barometer standing at 29.4. I continued to answer the salutations from below as long as I could distinguish particular objects, and afterwards occupied myself in general observations with Mr. Green without feeling a particular sensation of any kind. By degrees, the objects on earth became so small, that the most extensive manufactories appeared like so many mole hills,and the people appeared like so many black and white specks. I could not but think how truly ridiculous it was for men of immortal minds to weary themselves unnecessarily, and strive with each other for the possession of such mud-heaps as the establishments on earth now appeared to be; and I looked about with great anxiety to observe that humble church preferment which I was so anxious to obtain, and which many were so anxious to confer on me. I looked, however, in vain – it had already mingled in the obscurity of distance, and nothing remained but a huge dark sod, with a mud-heap where Hanley stood, and another where Lane-End might be supposed to stand.

One of Charles Green's balloons in 1836

At five minutes past four, the barometer standing at 26.2, we entered a very thick cloud of a yellowish white colour; we were then little more than half a mile high, i.e. 58; the cloud had a  peculiarity of taste which I am not now able to describe, and the feel of it was somewhat soapy. Having now lost sight of the earth, we adjusted the ballast, put out the grappling iron, and properly fastened it; Mr. Green then untied the mouth of the balloon, and I looked up into it, which from the pureness of the gas appeared to be empty. Mr. Green left the mouth of the balloon open, that as the gas might expand, it might find itself a passage downward through the mouth. When Mr. Green observed the balloon to become fully distended, he opened the valve and let out some of the gas; and as this led to me making some remarks about the valve, he permitted me at proper times to open the valve myself. The first time I opened the valve I think I did it with some hesitation, but opportunities multiplied and I went about it at last as if it had been my business.

At ten minutes past four, we were as near over Blithe Marsh Bridge, beyond Lane End, and then gliding into another current of air, we drifted towards Cellar Head. We now had a good view of the clouds beneath us, layer on layer, the last layer appearing to rest in sullen silence upon the earth, while all the rest appeared to move, each layer seeming to be directed by a peculiar current of air.

At fifteen minutes past four, we approached Werrington windmill, which we saw directly, and at the same time we heard the halloo and greetings of persons who were too much diminished by distance to be observed by us. The barometer then stood at 24.2, and our distance was nearly a mile, i.e. 98.

At twenty minutes past four, we passed over Consol Woods, and heard several guns fired, and had a good view of the bleak and hilly country over which we were about to pass.

At thirty minutes past four, we threw out ballast to check the descent of the balloon, which Mr. Green considered too rapid. We now held out the flags, and it was evident that we were going downwards, as the flags were blown upwards. I looked earnestly towards the earth to discover the first appearances again. What appeared narrow straight lines hardly distinguishable, turned out the be the King's highways; what appeared to be a mushroom, turned out to be a hay-stack; and what appeared to be a solitary bush, turned out to be a plantation or a wood. We again heard voices, and a curious humming sound, which Mr. Green explained as being produced by a shower of very small rain falling on the balloon; a sound which in his earlier experience, had very much alarmed him. We then crossed Churnet River, and the Canal in the neighbourhood of Belmont House, and saw the reflection of the balloon in the water. The rain had now condensed the gas, and the lower part of the balloon collapsed.

At thirty-five minutes past four, we found ourselves descending over a woody district, and threw out ballast in order to pass over it. As we ascended, we got into another current of air, which drove us rather southerly, between Ipstones and Kingsley. Here it was somewhat cold. A voice was now heard distinctly crying out “Come down, come down.” Mr. Green answered “Not yet.” and I vociferated “Silence.”  and I have since learned that a good hostess understanding Mr. Green to say “yes, yes,” and supposing me to say “mistress,” little thinking that she did not appear to us bigger than a pin's head, went in and fetched out some brandy to regale us. The barometer now stood at 23.1 and our distance was about a mile i.e. 1.2.

At forty minutes past four, the barometer stood at 20.1, so that our elevation then, (which was our highest elevation) was a little above two miles, i.e. 2,047. Mr. Green thought it proper here to tie the mouth of the balloon to keep out the atmospheric air; and he mounted on the very edge of the car to accomplish it; as it was not possible for him even so to reach it, I hung upon a cord my whole weight to bring the mouth of the balloon low enough, and in this manner it was effected. I now heard the sound of a horn, and Mr. Green heard the sound of carriage wheels, so that we concluded some public coach was passing, and we stooped a little from our elevation to examine the ground for a descent.

At fifty minutes past four, a heavy storm came on, and we were obliged to hasten our descent. Nothing but stone walls appeared to greet us in this moorland country, and we both prepared for the worst that could happen to us. Having come down low enough for the grapple to touch the earth, we called to the first object we saw to come and render us assistance. Two men that appeared were unable to overtake us. The grapple caught on a wall and dragged an immense part of it to the ground. Again we swept the distance of a long field, and again the grapple caught on another wall which it served as it did the first. In this manner our velocity was checked, and other persons coming up, we made a safe landing, after having been in the air, as near as possible, an hour, and having passed over at least 25 miles.'         


Reference: Staffordshire Advertiser 7 October 1826, p.4 ; J H Y Briggs, ' A Staffordshire Clergyman: The Reverend Dr Benjamin Vale,  L.L.D. (1787-1863)' in Staffordshire Studies (Keele, 1987) pp. 141-153.                                

Soprano: The Musical Career of Lily Lonsdale (1)

'If only to hear the remarkable singing by Lily Lonsdale, the entertainments given by the Royal Gipsy Children are well worth attending... The young lady named is still well within her teens, but she sings with skill expected only from artistes far above her years, and has a voice of unusual compass and beauty.'

-  Western Mail, Cardiff, 27 December 1899

Elizabeth Longsdale, alias Lily Lonsdale

Elizabeth Longsdale, or Lonsdale, was born in Pitts Hill, Tunstall in 1878, the fifth of eight children born to William Longsdale and his wife Martha nee Maskew. Elizabeth's father was a potter by trade, but his great passion was for choral music and in the last decade of his life he served as the choirmaster at Christ Church, Tunstall. Given this background, it is hardly surprising that William and Martha raised a family of very musical children: their son Wilson became a noted local baritone and their youngest daughters Agnes and Ethel also became elocutionists, singers or performers as too did one of their grandchildren. But it was Elizabeth, under the stage name of Lily Lonsdale, whose star would shine the brightest. Unfortunately for William, though, he never got to see his daughter's rise to fame, dying at a relatively young age in 1889 when Elizabeth was only eleven years old.

Elizabeth first made her name as a soloist at local concerts before joining the North Stafford Amateur Operatic Society where she made her stage debut, eventually taking on lead roles, most notably as Iolanthe in the Gilbert and Sullivan comic opera of the same name. As was later noted in her obituary, it was after this that that she turned professional, joining Thomas Tomkinson's Gipsy Children, a local choir turned concert party. Unusually, this was composed of talented children or adolescents and had garnered quite a following in the Potteries, even earning several invites to Trentham Hall to entertain the Duke of Sutherland and his guests. This troupe – known from 1897 onwards as the Royal Gipsy Children – would be the starting point of several successful show business careers during its existence, most notably that of Gertrude Mary Astbury, who better known as Gertie Gitana, later enjoyed a stellar career in the music halls. When Elizabeth was with the troupe Gertie was a child prodigy from Burslem nine year Elizabeth's junior, who under the stage name 'Little Gitana' ('Little Gypsy') was already gamely tackling the multiple roles that members of the Gipsy Children were often expected to take on, be it singing, dancing, acting, yodelling, paper tearing, male impersonation and performing in musical or comedy sketches. Contemporary newspapers occasionally provided digests of the entertainments the troupe provided.

Lily's co-performer Gertrude Astbury -
'Little Gitana' - in later life. By this time
she went by the stage name 'Gertie Gitana'.

'THE GIPSY CHILDREN - Mr Thomas Tomkinson's Gipsy Children have attracted crowded audiences to the Town Hall during the past week, on their return visit to Leek. Without doubt Mr Tomkinson has at his command one of the finest entertainments at present travelling, and the lengthy programme which includes musical items, comicalities, gymnastic displays, &c., is full of interest from start to finish. The first portion of the entertainment is composed of songs, dances, solos and choruses by the children, and it would be a difficult task to single out any performer, from Miss Lonsdale with her beautiful singing, to Little Gitana with her dry humour, who is more worthy of special praise than another. The second part consists of skipping-rope dances, clog dances, toe dances, character sketches and feats of equipoise on wire. The Musical Mascots give an excellent item, and the Urma Trio of charming young ladies go through a marvellous performance on the triple trapeze, which is suspended from the ceiling of the Hall. The mysterious Flying Lady, concludes the programme, and many are the suggestions made as to how this wonderful trick is done. The work of trying to please the audience extends down to the attendants who see that nothing is wanting for the comfort of their patrons. We strongly recommend those who have not already done so, to visit the Town Hall this evening (Friday) or to-morrow, when there will be a matinee, besides the evening entertainment.'

- The Leek Post, 3 December 1898

Elizabeth too occasionally performed in some other roles as the situation demanded taking parts in sketches and revealing an aptitude for comedy, but her best and natural talent was always singing. Slim and attractive and now in her late teens, Elizabeth had developed into a fine soprano singer possessed of a beautiful, well-modulated voice. Billed under the alliterative moniker 'Lily Lonsdale', she quickly became one of the star performers with the Gipsy Children, regularly granting encores to delighted audiences and earning fine reviews from equally enthralled reporters.

Though originally performing exclusively in the Potteries or North Staffordshire, by 1897, the reputation of the Gipsy Children was such that they took on a tour of the Midlands and Wales and were very well received. Lily – as we shall now call her -  like the other performers joined the troupe on the road and went wherever she was required. The performances took place in various locations, sometimes grander places such as theatres, but also in town halls or humbler public buildings like church halls or meeting houses. The company included not only the cast, but also the management and a small army of helpers. Indications are that many of the parents of the children were involved with the troop and joined them on tour and took on various roles such as helping the young performers with their costumes, serving as ushers for the audience, collecting tickets and scene-shifting. All the props had to be transported too and the Gipsy Children even took a large velvet curtain on a custom made extending brass pole with them to serve as the stage for the show where none existed. Such ad hoc arrangements were known in the business as 'fit-ups', because they could be fitted up anywhere to give a performance. Only in such ways could visiting performers take their acts to small out-of-the-way venues where no other suitable performing area existed.

Ernie Myers

Working with the Gipsy Children, experiencing life on the road, working in theatres and the numerous fit-ups, in front of varied audiences (including royalty if we believe Thomas Tomkinson's tale about how the troupe suddenly became the 'Royal' Gipsy Children) was doubtless good grounding for Lily in her intended profession. During this tour she honed her skills and earned many plaudits for her performances, but she must have felt that it was apprentice work and by mid 1899 she was looking to move on with her career. There may have been several other reasons behind this desire to spread her wings; for one she was now 20 or 21, a grown woman and was obviously getting rather too old to make a convincing gipsy child. Also by this time she was romantically involved with another member of the troupe, 28 year old comedian Ernie Myers and they doubtless wanted a bit of privacy for their relationship, while armed with their skills the prospects of a married life on tour as variety performers looked promising.

Lily's initial attempts at forging a new career, however, got off to a bumpy start. Having quit the Royal Gipsy Children in June 1899, she enlisted as a member of Leon Vint's Globe Choir that was formed from 20 to 30 young women and seemed a logical choice, but she soon regretted it. Lily joined the choir in September, but by December her voice was suffering from overwork and despite being under contract until the following summer she handed in her two weeks notice. At first Leon Vint was agreeable to her quitting her contract if a replacement could be found and Lily's sister Agnes working elsewhere in the company offered to step in, but for whatever reasons Vint then changed his tune and after seemingly plucking an excuse out of thin air and claiming that the two women had breached their contracts, he threatened to take the sisters to court, at which Lily and Agnes, angry at this volte-face, promptly resigned. To court they went, at Tredegar on 16th January 1900, but here Leon Vint's bully-boy tactics backfired when he admitted that he had indeed asked for a replacement and Agnes had agreed. The judge was also critical of the contract which he deemed very one-sided in the management's favour and as a result he promptly dismissed the case against the two women.

To support herself in the meantime, Lily had returned to performing with the Royal Gipsy Children. Her return, though, was short-lived and was effectively brought to an end only a few days after the successful court case when on 22nd January, Thomas Tomkinson, the founder of the Gipsy Children died from pneumonia at Dowlais near Merthyr Tydfil aged just 27 years. The company would carry on touring and performing under the care of Thomas's brothers, but in the reorganisation following his premature death, Lily and Ernie made their final break from the company and set off as independent performers. Taken onto the books of theatrical agent A. Borelli, they were immediately set up with a number of dates, one of the earliest being in Liverpool and whilst in the area they married at Prescot in Lancashire in April that year. Shortly afterwards they appeared in Salford, after which their manager put both of them on the so-called Moss and Thornton tour, taking in a series of theatres and musical halls across Ireland, northern England and Scotland.

There was a brief pause for Lily early the next year when she returned to the Potteries to have their first child, Jacob William or 'Jack', in February 1901, but hard economics and the strictures of contracts dictated that family life had to play second fiddle to their careers. So, while young Jack was left in the care of Lily's mother in Tunstall, Ernie and Lily went off to earn a living and so began the gruelling round of public appearances up and down the country that was the lot of jobbing variety performers in the late 19th and early 20th centuries.

References: Obituary, Staffordshire Sentinel,  8 March 1929

Soprano: The Musical Career of Lily Lonsdale (2)

The Queens Palace, Rhyl

In the first few years on the road Lily and Ernie appeared in numerous venues up and down the country, including Belfast, Hull, Salford, Liverpool, Rhyl, Pentre, Tonypandy, Barry, Treorchy, Birmingham, Leeds, Derby, Coventry, Gloucester, Birkenhead, Argyll, Edinburgh and occasionally back on Lily's home turf in the Potteries. They were as yet only middle-ranking performers building up their reputations on the theatre and music hall circuit, all of which further honed their considerable skills. Despite now being married and performing at the same venues, they still appeared under their original stage names as separate acts, Ernie as an increasingly popular 'patter comedian' regaling the audience with amusing if outlandish stories and Lily in her role as a classical or ballad vocalist, though occasionally she too turned her hand to comedy, often performing in sketches or skits opposite her husband, such as when they were appearing at the Queen's Palace in Rhyl, North Wales in 1902:

'A very clever item is the amusing sketch entitled “The New Man” a burlesque in which much jesting and vivacity are introduced and which does the artistes credit. Ernie Myers well sustains the funny part, humour of course being a speciality of his which has made him a great favourite while in Rhyl. The mad woman's part is played by Miss Lily Lonsdale, the accomplished ballad vocalist who for the past week or two has charmed the audiences from day to day.'

- Rhyl Journal, 20 September 1902, p.2

They appeared in very mixed companies, sharing the stages with conjurors, ventriloquists, impressionists, acrobats, marksmen, puppeteers, clowns, jugglers, dancers and performing animals as well as other comedians and singers. On at least one occasion they were on the same bill as another married couple who performed as the double act 'Drum and Major'. The husband 'Tom Major', real name Tom Ball, would later adopt his pseudonym permanently and following the death of his wife Kitty, by a second marriage he became the father of future Conservative Prime Minister John Major. Probably the most famous bill that Lily and Ernie appeared on, though, was that for the Argyll Theatre of Varieties, Birkenhead, on 29 May 1905, when they were amongst the acts who for three nights appeared in the same show as the famous American escapologist Harry Houdini, then on a tour of Britain.

Their schedules could be gruelling, travelling from one venue to another and when there giving performances six evening a week, plus a weekday matinee. Lily sometimes had to sing up to six or seven songs per performance, so needed to make sure that her voice was in tip-top condition. Away from the stage, both she and Ernie needed to constantly keep their repertoires topical and refreshing; for Ernie this meant a constant search for new material for his comedy act, while Lily had to learn and practice the latest songs to keep her audiences entertained. The winter season did at least give the couple the chance to settle down for a few months into more regular work, when like many artists today they took on roles in traditional Christmas pantomimes. Lily and Ernie often appeared together in Aladdin, where Ernie gained a reputation for playing the villainous magician Abanazar and Lily made a memorable Princess. 

Though their workload was heavy, both of them were still young and the constant round of work paid for a very respectable lifestyle and by 1911 the couple had settled down in a pleasant house in Derby. By now they also had another child, a daughter, Lillian May, born in 1910, who when her parents were on tour along with her elder brother Jack were again left in the care of Lily's mother Martha, who had quit the Potteries and now lived with the couple in their new home. The children were doubtless left in the care of their grandmother for several months in August 1911, when Lily and Ernie and a few other acts set off on a journey to South Africa, where theatrical agent Edgar Hyman of the Empire Theatres Trust had booked them to perform at the Empire Theatre in Johannesburg. By December, though, they were back in Britain, once again taking up their respective roles in yet another performance of Aladdin.

Things carried on in the same vein for the next two years or more, but this happy period came to a shattering end when in 1914 the couple again set out for South Africa, this time at the invitation of the Africa Theatres Trust who had bought out Edgar Hyman's management company. Taking passage aboard RMS Briton they enjoyed the long voyage down, but on the approach to Table Bay at the end of the journey Ernie was taken ill and died suddenly on the morning of 7 April before the ship reached port. Lily was devastated, but the theatre community in Cape Town rallied around her. Harry Stodel, the local impresario who had booked them stepped in to organise the funeral, while the theatre company from the Tivoli music hall where they had been set to perform helped Lily through this hard time, for which she was very grateful. She was far from home and there are no indications that she had her children there with her to say goodbye to their father when he was buried at Maitland Cemetery, Cape Town on 8 April 1914.

After fulfilling what remained of her contract in South Africa, Lily took her lonely journey home. Back in Britain she quickly returned to her life back on the stage, a necessity now that she was the sole family breadwinner. This was a position made even more tenuous by the outbreak in August of what would become the Great War, with all the upheavals this caused. However, Lily was lucky, her reputation was high and she never stopped working during the war and after a few variety performances in London when she first returned to Britain, her work  took a new direction with regular employment on two long-running stage shows. She first landed a plumb role in the new musical farce Mind Your Own Business, written by Charles Baldwin and directed by Ernest Dottridge. Boasting a cast of forty performers the show starred comedian Arnold Richardson as restaurant proprietor Nathaniel Bloggs, with Lily as his daughter Ella, Vera Hind as a 'Sicilian Syren' and Leyland Hodgson as Ella's sweetheart, Dick.

The show would prove popular as it toured the country and Lily stayed on as a principal member of the cast until the end of 1915. She remained with the company for the winter season panto, but in February 1916, she announced that once the pantomime ended that she would return back to performing in variety. This plan quickly changed, though, when she was snapped up for another musical My Son Sammy, which would provide Lily with work for the rest of the war and beyond. She was again playing one of the principal roles, that of Vera Openshaw, while the titular character Sammy was played by comedian Arthur White, whose antics carried the show. Described in a similar vein to Mind Your Own Business, the show was a musical farce and a topical one with numerous songs touching on the military, such as 'Military Mad' and 'The Chocolate Soldier', the latter sung with verve by Lily herself, for as throughout her career she was widely praised for her commanding presence on stage and the beauty of her singing.

My Son Sammy toured the country with great success, it consistently played to packed houses, audiences seemingly delighting in anything that distracted them from the grim news from the front. Sometimes during a stop over, the cast would break off from their normal routine to put on special performances for wounded servicemen in the numerous war hospitals dotted around the country. For instance, in October 1918, Lily and her fellow performers were at the Grand Theatre, Hanley and put on just such a variety performance at the local war hospital, where many of the wounded were stretchered in by members of the Royal Army Medical Corps. It was a great success and Lily shone on home turf where she 'delighted the audience with her charming rendering of “The end of a journey.” In response to a determined encore she gave the popular “Joan of Arc” in splendid style.'

A few days later the company moved on to Middlesbrough and it was whilst there that on 11 November 1918, that the armistice was signed and the war ended.

The show went on for two more years with Lily still playing her part. Her career was going well, but the increasingly poor health of her mother was a concern and in mid-May 1920, whilst in Wigan, Lily suffered a nervous breakdown due to stress. The Stage put this down to her punishing work schedule, noting that she had played over a thousand performances in My Son Sammy. This was doubtless a factor, but by now her mother was in the last weeks of a long and painful illness. Lily recovered and trouper that she was got back to work a fortnight later in St Helens. However, on 21 June 1920, Martha Longsdale died back in Derby, putting a stop once more to Lily's performances. She and her relatives met up three days later in Tunstall for her mother's burial in the local churchyard.

Following this traumatic event Lily briefly left the cast of My Son Sammy and by mid-July she was headlining at the Gaiety, Durham as the star of The Rainbow Girl, described in the bylines as 'The most gorgeous and refined attraction of modern times'. Perhaps her time on this show was simply to give her a break from her normal routine and to allow her to pull herself together, or maybe she found that she could not fit into the new show. Whatever the case, after only a month Lily returned to her regular role in My Son Sammy. And there she remained for the next year when in December 1921 a sequel Sammy in Society was produced. Lily reprised the role of Vera Openshaw, but only for a short run of performances. It was time to move on.

Top of the bill. Lily briefly headlines in The Rainbow Girl.

After this long stint of very fixed work Lily moved back into the world of variety and a life akin to that she had led early in her career, and on one occasion at least she is said to have toured abroad once more, this time in Madeira. Also according to her obituary perhaps harking back to her father's choral background, she also occasionally dabbled in oratorio. Her long career now usually saw her receiving top billing wherever she went, but there were fewer mentions of her in the press. There was one notable exception in 1923, albeit for all the wrong reasons, when on 4 November, her son Jack died at the age of 22. He had been ill for some time and his death again hit Lily hard and his passing and funeral were given conciliatory coverage in The Era newspaper. Now there was only Lily and her daughter Lillian, who within a few years also started to pursue a career in the music halls and theatres. Her mother carried on as before.

A photo of Lily from her obituary.

For the next five years Lily worked constantly, but as was the case with many music hall stars, the workload and peripatetic lifestyle started to tell and by her late 40s her health had begun to suffer. In Wolverhampton in August 1928 the end was signalled when she suffered a seizure and collapsed on stage. She sat down to complete her final song, but as soon as the curtain fell Lily was escorted out to a waiting ambulance. What the seizure boded is never made clear, but from what little can be gleaned it ended her career and her life. She never recovered and on 2 March 1929 at the age of 50 she died at the Derbyshire Royal Infirmary. 

Mow Cop Castle

Mow Cop Castle from the Staffordshire side.

To the north of Stoke-on-Trent and standing smack on the Staffordshire-Cheshire Border, the hill of Mow Cop dominates the respective skylines of both counties and is also very much a natural demarcation point. To the south, the low rolling hills of North Staffordshire leading up to the hill seem to suddenly give way to the vast flat expanse of the Cheshire plain on its northern side. Nowhere is this better appreciated than from the highest point on the hill, where a circular stone tower, low wall and archway sit perched on a great prow of millstone grit rock, part of a jagged ridge of stones that appears to erupt from the surrounding greenery.

In truth the ruggedness of the hill owes as much to centuries of quarrying as to the vagaries of nature, while the apparently ancient ruin, known to one and all as Mow Cop Castle, is in fact South Cheshire's and North Staffordshire's most famous folly, dating back at best to the late 1740s. Though solid documentary evidence relating to the 'castle's' construction seems to have vanished over time, it's most likely that it was actually built as Medieval-style summerhouse paid for by the wealthy Wilbraham family of Rode Hall, Cheshire, who were perhaps keen to mark the edge of their lands and make use of the spot from which to admire the spectacular views of the two counties. Construction of the tower, archway and wall seems to have been carried out by a family named Harding whose descendants then became keyholders for the tower under the Wilbrahams. However,  either the Wilbrahams or the Hardings had slipped up in constructing the tower where they did, as by straddling the border it infringed upon the Staffordshire estate of the Sneyd family of Keele Hall. There are confused scraps of folklore suggesting that this fact was know from the earliest times and that the Wilbrahams and Sneyds held joint ownership and access to the site, but again there is no conclusive evidence of this and arguments as to which family actually owned Mow Cop Castle would blight its early history and lead to litigation in the mid 19th century.

The tower today is nothing more than an empty stone shell, with bars on the windows and a grill over the doorway stopping anyone from getting inside, but when it was first constructed it was much more useful, comprising a lower and upper storey with a staircase, wooden floors, a roof, windows and a stout wooden door at its entrance. Keys to the door could be obtained at times from Rode Hall itself or - for the convenience of visitors - from a cottage near to the summer-house. Indeed, it appears that from very early in its history, the Wilbrahams were quite happy to let members of the public make use of the tower for their own recreations. As a result, the castle became a favourite picnic spot and playground for the locals and despite the competing claims over the years of families and landowners as to who owned what, the castle came to belong very much to the people of Mow Cop itself and their voices would be loud in determining its fate.

Primitive Methodism

A memorial stone commemorating the first camp
meeting held at Mow Cop in 1807.

The hill and castle also hold a special place in the religious history of the region as Mow Cop was very much the spiritual home to the Primitive Methodist movement that originated in North Staffordshire in the early part of the 19th century and the castle its unofficial symbol. The movement's founders, two Potteries-born Wesleyan preachers, Hugh Bourne and William Clowes, were hoping to restore a spirit of revivalism to mainstream Methodism. Inspired by tales of American camp meetings which they felt mirrored the  outdoor preaching of John Wesley and the early Methodists, the men organised the first in a series of camp meetings at Mow Cop on May 31, 1807. This drew a sizeable crowd and resulted in many converts, but despite its success the Wesleyan Church frowned on the fervent brand of evangelism employed and refused to recognise these converts, while Bourne and Clowes were reprimanded for their actions. There was probably an element of snobbishness in the censure too, as both Bourne and Clowes were uneducated working men and their brand of Methodism was decidedly working class in its following, many of Bourne's and Clowes's early converts being some of the roughest of working class men and women from in and around Mow Cop and the Potteries.

As Bourne and Clowes refused to stop holding further open-air meetings, both men were dismissed from the church and after failing to gain re-admittance in 1810 they took the step of founding Primitive Methodism, and in February 1812 in a meeting held at Tunstall, they took the name The Society of the Primitive Methodists. From these humble beginnings the Primitive Methodists would grow into a considerable faction of the Methodist church with a wide following across Britain and branches in the United States and around the British Empire and maintained their independence until the Methodist Union of 1932.

Kings of the Castle
The Wilbrahams left Rode Hall for Lancashire in 1800 and though some repairs were made to the castle over the years, it suffered the ravages of time, neglect and petty vandalism. The floors and wooden fittings were pilfered or destroyed, the door was taken down and put into storage, while the Wilbrahams and Sneyds still debated their claims to the site. Matters came to a head in 1847 when the Wilbrahams refitted the old door to the tower and locked it, which effectively restricted access to the Sneyds and the public at large who had previously had free access to the structure. The next year the Sneyd family's men broke into the tower which act resulted in a court case in 1850 that sought to establish who actually owned the castle. However, faced with a baffling array of contradictory evidence, the jury in the case returned the verdict that the Wilbrahams owned the castle but the Sneyds owned the land, which left them back at square one. The judge refused to accept this fudged verdict and instead pronounced a joint ownership and that henceforth both families should hold keys to the castle, joint responsibilities for its upkeep and with a few provisos both families had to maintain public access to the hill and castle.

However, probably as a result of this apportioning of responsibility the castle gradually fell into a state of complete neglect over the next half a century and by the beginning of the 20th century had effectively been reduced to the bare stone shell seen today. Only the locals seem to have continued to appreciate the castle and as was seen when the castle passed to its last private owner they rallied to its cause.

By the late 19th century most of the quarries that had dotted Mow Cop had closed down, however, in 1918 and 1922, a local businessman, Joseph Lovatt, bought up the competing land rights from the Wilbraham and Sneyd trustees and having cleared the debris from some of the old quarries near to the castle, he began fresh diggings for building material. Though he was himself a Methodist with an interest in preserving Mow Cop Castle (which he now owned) Lovatt's actions raised fears amongst the locals that his quarrying might undermine or damage its foundations. Moreover, Lovatt fenced off the castle, which increased local ire at being excluded from their local beauty spot and they protested and eventually broke down the walls and fencing. This prompted a second court case to determine the future of the castle, the villagers arguing that they had common rights to use the castle and its environs. The case dragged on for three years and when it finally concluded the judge pronounced that the castle was not built on common land and that the rights of the locals were more a matter of accepted custom than a matter of law. Though the old custom carried some weight, the problem was that no one was sure exactly what their right of access to the castle entailed and the local authorities on either side of the county border had made no efforts to clarify these.

Lovatt may have won the case, but it had not done his reputation any favours and he soon determined to get this troublesome parcel of land off his hands as soon as possible. To this end in 1927, he offered it to the Bourne Trust, the successors to the Primitive Methodist movement, these being an obvious choice to pass the site on to. After careful consideration, though, the Trust determined that its upkeep was beyond their means and refused to take up Lovatt's offer. So, in 1935, Lovatt offered the castle and six acres of land including the famous local stone pillar Old Man of Mow, to the National Trust. This was accepted and on 30 May 1937, the deeds were formally handed over at a grand ceremony attended by ten thousand people.

Since then the National Trust has maintained the structure pretty much in the state that they received it. Matters of ownership and public access are a thing of the past and though the castle itself is now closed for safety's sake and to dissuade potential vandals, people can still visit and walk around the structure, while its hilltop vantage point with its impressive views across two counties is open to all.

Looking out over Staffordshire from Mow Cop

Reference: Philip R. Leese, Mow Cop: A Working Village (2010); Mow Cop: Living on the Hill (2011)