Difference between revisions of "Harry Rickards"
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| − | [[Harry Rickards]] ()[] was | + | [[Harry Rickards]] (1843–1911)[] was a "comic vocalist", performer and impresario. |
== Biography == | == Biography == | ||
| − | + | Born Henry Benjamin Leete in England on 4 December 1843, he was intended to be an engineer by his father and was forbidden to attend theatres during his apprenticeship by his Puritan parents. However, he developed a talent for comic singing and sang at music halls in Canterbury and Oxford, appearing under the stage name of "Harry Rickards". | |
| − | + | Having established a reputation as a singer of comic songs, he travelled to Australia, reaching Melbourne on 28 November 1871 and eventually settled there. He travelled on occasion to perform in the colonies (including South Africa), Britain and the USA, but was primarily known in Australia as baritone, comedian and theatre owner. He built up what was known as the Tivoli circuit[], becoming the lessee of theatres in various state capital cities. He visited England annually and would engage distinguished artist, such as artists like Harry Houdini, Marie Lloyd, Peggy Pryde, Paul Cinquevalli, Little Tich, Ada Baker, and many others for the Australian variety stage. | |
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| + | He had married Caroline Hayden on 10 March 1862 at Bromley and later married Kattie "Kate" Roscoe, a trapeze artist, acrobat and performer, and had two daughters. He died suddenly of apoplexy in Croydon, England, on 13 October 1911, and his body was returned to Australia to be buried in Waverley Cemetery. | ||
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==Contribution to SA theatre, film, media and/or performance== | ==Contribution to SA theatre, film, media and/or performance== | ||
Revision as of 06:36, 27 March 2021
Harry Rickards (1843–1911)[] was a "comic vocalist", performer and impresario.
Contents
Biography
Born Henry Benjamin Leete in England on 4 December 1843, he was intended to be an engineer by his father and was forbidden to attend theatres during his apprenticeship by his Puritan parents. However, he developed a talent for comic singing and sang at music halls in Canterbury and Oxford, appearing under the stage name of "Harry Rickards".
Having established a reputation as a singer of comic songs, he travelled to Australia, reaching Melbourne on 28 November 1871 and eventually settled there. He travelled on occasion to perform in the colonies (including South Africa), Britain and the USA, but was primarily known in Australia as baritone, comedian and theatre owner. He built up what was known as the Tivoli circuit[], becoming the lessee of theatres in various state capital cities. He visited England annually and would engage distinguished artist, such as artists like Harry Houdini, Marie Lloyd, Peggy Pryde, Paul Cinquevalli, Little Tich, Ada Baker, and many others for the Australian variety stage.
He had married Caroline Hayden on 10 March 1862 at Bromley and later married Kattie "Kate" Roscoe, a trapeze artist, acrobat and performer, and had two daughters. He died suddenly of apoplexy in Croydon, England, on 13 October 1911, and his body was returned to Australia to be buried in Waverley Cemetery.
Contribution to SA theatre, film, media and/or performance
Performances as comic vocalist
The Rickards' Combination
In Australia it was billed as The Rickards' London Star Comique Combination during a tour in 1873[1]
This name is given to an act consisting of "The Flying Trapeze, Miraculous Dives, Daring Flights" presented by the "Great Rickards", Lottie D'Aste, Katrine Angellian and Frank Angellian, presented on 27 October 1877 in the Theatre Royal, Cape Town, as an after performance to Waiting for the Verdict, or Falsely Accused (Hazlewood) and a ballad by Miss Wynne.
Sources
The Sydney Morning Herald (25 August, 1873)[2] D.C. Boonzaier, 1923. "My playgoing days – 30 years in the history of the Cape Town stage", in SA Review, 9 March and 24 August 1923. (Reprinted in Bosman 1980: pp. 374-439.)
The Age, Melbourne, 8 September, 1900[3]
F.C.L. Bosman. 1980. Drama en Toneel in Suid-Afrika, Deel II, 1856-1916. Pretoria: J.L. van Schaik: pp.353, 362, 366, 394
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