Ken Ray's Soldiers: Private John Potts

Ken Ray, a long-time researcher into the lives of local soldiers has assembled an impressive list of North Staffordshire men who served in the Napoleonic Wars, the Crimea and the numerous colonial conflicts Britain participated in during the 19th and early 20th centuries. He has very kindly given me access to some of his documents which chart the lives and careers of ordinary men from the region who might otherwise have been forgotten. This is one of those stories...

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Private John Potts, 3rd Battalion 1st Foot (Royal Scots), Napoleonic Wars.

Depending on which document you consult, John Potts was born in either Hanley or Stoke, in either 1784 or 1789, though the latter seems the most likely date as on his discharge certificate the age '32' is crossed out and replaced with '27', putting his birth in 1789. This accords with other documents which seem to agree on that date. Nothing is known of his parentage, but before joining the army he worked either as a printer or a painter in the pottery industry, though on at least one occasion he simply listed his occupation as a potter; Potts was ever fickle with his personal details.

The uniform of the 1st Regiment of Foot (Royal Scots)
at the time of the Battle of Waterloo in 1815.

There is a hint that Potts may have been a member of the Staffordshire Militia before joining the regular army as when he attested for the 1st Foot at Windsor on 1 February 1808, he did so with several other men from Staffordshire who all indicated previous military service in Staffordshire. John Potts, however, did not specify how long his service had been. After several months of training, he was assigned to the 3rd Battalion 1st Foot on 25 June 1808.

Potts went on to see service in the latter half of the Peninsula War  One John Potts later earned two clasps for the Military General Service Medal (awarded to surviving veterans of the Napoleonic Wars in 1847-48) for the storming of  Badajoz in 1812, and the Battle of Vittoria in 1813. This may have been our man, but to further muddy the waters of his service record there were two John Potts in the 3rd Battalion 1st Foot (the other hailed from Roxburgh in Scotland) and the surviving records for both give no indication which of them this was. Our John Potts certainly suffered serious injuries during his service, with gunshot wounds to the head, right arm and leg and left knee. As the Royal Scots only suffered two casualties at Badajoz, (two wounded officers) then John may have got his wounds at Vittoria where the Royal Scots took a severe mauling. However, there is an excellent memoir of the Peninsula War written by Corporal John Douglas of the 1st Foot that mentions a Private John Potts having a miraculous escape from death, but suffering serious injuries, at the siege of San Sebastian in late 1813; and as his account indicates, this was almost certainly our man. We join the story just as the 1st Foot and other regiments are launching an attack against the southern walls of San Sebastian, which was a fortress town situated on a rocky peninsula.

'On the 25th July the breaches were pronounced practicable, but waiting for the tide to be sufficiently low to admit the men to reach the breach, it was daylight ere we moved out of the trenches; and having to keep close to the wall to be clear of the sea as possible; beams of timber, shells, hand grenades and every missile that could annoy or destroy life were hurled from the ramparts on the heads of the men; to shun which, if they kept further out in the tide, showers of grape and musketry swept them away by half companies. Those who scrambled onto the breach found it was wide and sufficient enough at the bottom, but at the top there was not sufficient room for one file at the curtain and from thence to the street was at least 20 feet. This was a house which was on fire close to the breach, and through which our poor fellows were forcing their way when a shell from our 10-gun battery at the passage side struck the gable and buried nearly a company in the burning ruins. One man alone escaped. The sides of the door being stone fell towards each other, and formed a letter A over him. Though his life was saved by this providential circumstance, he was, I might say, half-roasted, but survived. (I saw him in June 1817, after returning from France, near the potteries in Staffordshire, on the banks of the canal. His face then resembled a new-born infant. His name was John Potts.'

- John Douglas, Douglas's Tale of the Peninsula & Waterloo 1808-1815, pp. 79-80.

Potts' rejuvenated appearance was probably the result of new flesh and scar tissue covering the burns he had received in this closest of shaves.

The 1st Foot also took part in the Waterloo campaign in 1815 as part of General Picton's division, a Private John Potts served in Captain Robert Dudgeon's N° 8 Company, being awarded the Waterloo Medal for his service in the brief but dramatic campaign. There is evidence that the other John Potts in the ranks of the 1st Foot may have been stricken ill with eye problems on the march from Ghent to Brussels, which may perhaps have put him out of action for the duration, but again as with the Peninsula War clasps there is no clear indication as to which John Potts it was who saw action at Waterloo.

Potts was in France with the army following Napoleon's final overthrow and it was whilst stationed at Valenciennes that on 16 May 1816, he was discharged from the army due to being worn out by the effects of his numerous wounds. He was described at the time as being about 32 (sic) years of age, 5 feet 11 inches tall, with brown hair, grey eyes and a fresh complexion. Another document added the detail that he had a long visage. Having made his way back to Britain, on 9 August 1816 Potts was duly examined at the Royal Hospital, Chelsea to secure a soldiers' pension. This he did, being awarded a shilling a day as an out-patient.

John Potts disappears from the records after this, though we can presume from John Douglas's account that he returned to the Potteries following his medical exam. There is some circumstantial evidence that he may have been the John Potts listed in the 1841 census as living in Joiners Square, Hanley. This man was was 52 years old (born in 1789 as the soldier seems to have been) and he worked as a pottery painter (one of Pott's suggested pre-army trades). He was married, his wife Elizabeth being 45 years old, though they had no children. A decade later, though, the fuller census of 1851 revealed that the couple had suffered a serious downturn in their fortunes. John had gone blind and he and Elizabeth were listed as beggars lodging with a family in Bow Street, Northwood. By the time of the 1861 census, John Potts was 72 years old, his wife was 64 and they now had their own house at 34 Bow Street, where they lived with John's niece. The census noted that John had been blind for 14 years. This, though, was the last census he would appear on and a John Potts was listed as having died in Stoke-on-Trent in the last quarter of 1862.

Was this man really our old soldier fading away? We will probably never know for sure, but if so, the tale of his later years makes for a sad counterpoint to the high dramas of his youth.

Ken Ray's Soldiers: Corporal George Ball

Ken Ray, a long-time researcher into the lives of local soldiers has assembled an impressive list of North Staffordshire men who served in the Napoleonic Wars, the Crimea and the numerous colonial conflicts Britain participated in during the 19th and early 20th centuries. He has very kindly given me access to some of his documents which chart the lives and careers of ordinary men from the region who might otherwise have been forgotten. This is one of those stories...

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Corporal George Ball, 2nd Life Guards, Napoleonic Wars

Two babies named George Ball were born in Burslem within a year of each other. The first was the son of Charles and Esther Ball of Burslem, who was baptised there on 10th September 1786; and the second, son of Charles and Mary Ball of Burslem was baptised on 12th August 1787. If the several ages given on George Ball's future army documents are correct, then the earliest of these two is likely to be the future soldier, though there is seemingly no way to be absolutely sure.

Young George seems to have received some education (he could write his name) though whether he learnt his letters as a child or whilst in the army is unknown. Before joining the army he did briefly work as a potter, but that is all that is known about his early life save for the fact that on 8th February 1805, he enlisted in the 2nd Life Guards at Newcastle-under-Lyme, aged 19. His service in the regiment was dated from 25th December 1805.

George had joined the army at a critical time during the Napoleonic Wars when it seemed that Britain might possibly be invaded by the hitherto victorious French army. The immediate threat to the country had been crushed by Nelson's decisive victory over the French and Spanish fleets at Trafalgar in October that year, but the country still found itself at bay against a very dangerous enemy. At first, though, there was little Britain could do on land as the continent was largely allied against them. So, for the first few years of his army career George served at home. As a trooper and later corporal of the prestigious Life Guards, part of the sovereign's bodyguard, his lot would have been much better than most recruits to the army or navy at the time and much would have been given over to ceremonial duties.

In 1808, though, things changed, Napoleon invaded Spain and Portugal, prompting a popular uprising in the two countries that Britain quickly moved to support sending troops under Sir John Moore and Sir Arthur Wellesley to help against the French. Though the expedition got off to a near disastrous start, during which Moore lost his life, Wellesley, later ennobled as Lord Wellington, returned at the head of his army and spearheaded the broader campaign against the French occupiers that became known as the Peninsula War (1808-1814).

The 2nd Life Guards in action at the Battle of Waterloo in 1815.

Many British regiments got drawn into the conflict including the 1st and 2nd Life Guards, who in 1812 sent two squadrons each to Spain. George Ball was one of these men and saw action in two battles, later being awarded clasps for Vittoria (1813) and Toulouse (1814). The 2nd Life Guards also served at the battle of Waterloo in 1815 where they formed part of the front line of the Household Brigade which charged the French cavalry supporting Napoleon's first great attack on the allied line. Together with the simultaneous charge by the Union brigade they effectively smashed the French attack. Like all the soldiers involved in this climactic campaign, Corporal Ball later received the Waterloo Medal.

George Ball continued to serve with the 2nd Life Guards after the war, finally being discharged on 24th January 1828. His discharge was in consequence of him having completed his third term of service and most tellingly he had become too heavy for the regiment. In total, his service amounted to 24 years 136 days (including the 2 years extra service awarded to all Waterloo soldiers). His conduct as a soldier had been good. At the time of his discharge he was described as being 41 years of age, 6 feet tall with dark hair, dark eyes and a dark complexion; we can doubtless assume that he was also rather corpulent.

After this, George Ball vanishes from the record. There is no evidence that he returned to the Potteries and he may instead have settled in London and married. There are several candidates on the 1841 and 1851 censuses who may be our man, but to choose any in particular would be idle speculation. Certainly George survived until 1847 when he applied for his Military General Service Medal with its two Peninsula War clasps, but what life or family he had is unknown, as too is the date of his demise.

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.