NAT PHILLIPS' WHIRLIGIGS

aka Nat Phillips Revue Company / Snapshots Revue Company

A specialist revusical (and later a revue) company, the Whirligigs was founded by Nat Phillips

immediately after he and Roy Rene ended their Stiffy and Mo partnership in 1925. The troupe initially

featured Phillips as Oscar the Aussie and Harry Huley as Percy the Pom. Phillips later teamed up with

Jack Kellaway to form the partnership "Stiffy and 'Erb." He revived the Whirligigs immediately after

he and Rene split for the final time in 1928. It was renamed the Nat Phillips Revue Company in 1930.

Around that time he was also working in partnership with comedian Stan Foley (as "Stiffy and Stud").

The following year he and Joe Lawman became "Stiffy and Joe," followed a few months later by

"Stiffy, Joe and Syd" (with Syd Beck). The troupe disbanded in 1932 following the unexpected death

of its leader.

Nat Phillips and Roy Rene's played their last show together in 1925 on 17

July. The split occurred during Stiffy and Mo's Adelaide season. With

advertising already booked Phillips continued to present the Stiffy and Mo

Revue Company without his former partner, who was at that time reportedly

indisposed."1 A week later, with little fanfare Phillips announced his "newly

organised musical comedy company" and heavily promoted it as a "season of

joy and gladness" featuring such "clever folk" as Mike Connors and Queenie

Paul, Shannon Raye, Dan Dunbar and the "Six Crack-a-Jacks" among others.

It was not until the end of the third week of the new season, however, that

Phillips decided to advertise the company as the Whirligigs.2 The remainder

of the season comprised a selection of Stiffy and Mo revusicals and several

new shows, including Flying High and East is West.

The first production staged without Rene was the old Stiffy and Mo classic,

The Plumbers, and in this Phillips appeared without an off-sider. For the

second week's show (In Mexico) he elevated Joe Mullaney from the ensemble

to play opposite him - as Stiffy and Joe. Mullaney, described in the Register

as "a new comedian of the Peter Doody type,3 must not have had the

necessary chemistry because the following week Phillips brought in the more

experienced Harry Huley, who continued in the role of second comedian up

until at least the end of the Adelaide season. For the third production of the

season, Flying High, Phillips did not play his Stiffy character but instead

introduced a new one, "Oscar" (aka Oscar the Aussie). Although Huley's

character for this revusical was named Bertie Blobbs, it appears that for

the remainder of the Adelaide season he took on an alter ego called

Register (Adelaide) 25 July 1915, 2.

Percy the Pom. Interestingly Phillips also seems to have retained the Oscar character

during that same period - possibly reasoning that he had to change his name so as to

lessen comparisons with his former partnership. By 1926, however, "Stiffy" was back.

1926 also saw Whirligigs Revue Company's revusicals revolving around a new

onstage partnership - Stiffy and 'Erb (played by Jack Kellaway). The troupe continued

to present mostly old Stiffy and Mo revusicals, with a few more new works inserted

into each season. Stiffy and 'Erb would also appear in one or more sketches staged

during each evening's first-half vaudeville programme, with other members of the

company performing the usual fare of songs, dances, and specialty acts.

One the Whirligigs earliest engagements was a 26 weeks season at Perth's Luxor

Theatre for Walker and Doyle (beginning 10 May 1926). A highlight during the

season was a live broadcast of several items by the Westralian Farmers radio service

(20 Sept.). The length of the season is an indication of Phillips popularity, even

without Mo. This appears to have also been the case with the company's Brisbane

season which followed Perth. The Brisbane Courier writes of their debut performance

at the Empire Theatre in 1926 (in At the Grand):

1 "Majestic Theatre: Popular Programme." Register (Adelaide) 20 July 1925, 3.

2 See "Historical Notes and Corrections" below regarding the possible origins of the Whirligigs name.

3 "Majestic Theatre: A Strong Combination." Register (Adelaide) 27 July 1925, 12.

Brisbane Courier 16 Feb. (1929), 2.

Mr Nat Phillips was the central figure in the many and varied comedy scenes, but able assistance was lent by Ern

[sic] (Mr Jack Kellaway). Both comedians proved more than equal to the task of sustaining a liberal flow of

laughter."4

The Whirligigs remained together until 1927, a period of some 18 months, before reverting back to the Stiffy and Mo

Revue Company following the return of Roy Rene. Although Phillips initially stated that the new company would star

all three comedians, his and Rene's onstage relationship was too well-established in the minds of audiences and

Kellaway soon reverted back to a support role.

The Whirligigs was reformed in December 1928 following the final Stiffy and Mo season. After playing Melbourne

the company travelled to Brisbane, opening at the Empire on 23 February with Who's Who.5 Unlike earlier years, in

which Phillips' company's would provide only the second part revusical, each evening's entertainment was supplied in

whole by the company – with the first part comprising a series of vaudeville acts and the second part either a revusical

or revue. The Melbourne and Brisbane engagements also established the format of the seasons to be played up until

late 1930, with these comprising a mix of old Stiffy and Mo revusicals, a smattering of Stiffy and 'Erb shows from

1925 and 1926 and some fresh productions. Among the new productions staged in 1929 were Eyes Right, Pensions,

Not Guilty, Mama's New Husband, Marrying Mary and In Very Old Arizona. The company then travelled to New

Zealand sometime around mid-1929, presenting an extended season at the new Opera House in Christchurch between

ca. August and November. This engagement also saw the company augmented by veteran comedian Hector St Clair.

After returning to Australia in late-December 1929 Phillips re-organised his company. One of changes by this stage

was the departure of Jack Kellaway. The new Whirligigs appeared at the Bridge Theatre, Newtown under the venue's

new lessee Harry Kitching, 6 Clay's Bridge Theatre Company having recently made the decision to close down its live

theatre operations. The line-up included Kitching's wife Amy Rochelle, Daisy Merritt, Al Mack, Les Warton, Phyllis

Baker and Cecil Scott. After concluding its 14 weeks Sydney season the Whirligigs travelled to Perth, opening at the

Luxor on 10 May). Phillips' offsider by this time was Stan "Stud" Foley – himself an emerging comic with an

increasingly popular reputation. This suggests that the Whirligigs revusicals were still being performed by two

comedians rather than in the traditional comic/straightman format. As with Melbourne and Brisbane, the Perth season

began with a revusical (The Dooleys). The Stiffy and Mo revusicals presented were The Bell Boys, Waiters, In Spain

and Manicure, Sir?),7 while the Stiffy and 'Erb shows comprised Meet Mabel, The Huntsmen, Oh Auntie. The new

works included O.K. Chief, Hot Baby and Cure 'em Quick.

While the troupe's movements immediately following the Perth season (which closed 29 Aug.) have not yet been fully

established, the next engagement found was surprisingly in Broken Hill (New South Wales) under the management of

Fullers Theatres. Even more surprising the season's advertising had Stan Foley as the feature artist, with Phillips,

Keith Connolly billed as the support cast for the production Flotsam and Jetsam. While the show is known to have

premiered at the Crystal Palace on 4 October no further advertising is forthcoming until 17 October when the Barrier

Miner reports the final nights and full change of programme (by then known as the Nat Phillips Revue Company).

Foley appears to have been downgraded to one of the company members [see advertisements below].

Barrier Miner (Broken Hill, NSW) 30 Sept. (1930), 2.

Barrier Miner (Broken Hill, NSW) 17 Oct. (1930), 2.

4 "Empire: Whirligigs Revue Co, The." Brisbane Courier 18 Oct. (1926), 17.

5 It is likely that the troupe played a short season elsewhere between the close of the Melbourne season and its engagement at

the Empire (Brisbane) beginning 23 February. 6 "What's On." Truth (Sydney) 12 Jan. (1930), 11. NB: Clay's Bridge Theatre Company continued operation into the 1960s

but only as the owner/lesser of the Bridge Theatre. See Clay's Bridge Theatre Company Ltd and Bridge Theatre (Newtown)

for further details. 7 Another show from the 1930 Perth, The Sultan, is possibly a renamed version of In a Harem (aka The Porters).

The company next travelled to Sydney and as the Nat Phillips' Snapshots Revue Co. it began a record-breaking nine-

month engagement at the Grand Opera House8 beginning 1 November (advertising also often billed the troupe as Nat

Phillips and His Merry Men and Maids). For this season Phillips' staged all new revues, with no previous Stiffy and

Mo/Stiffy and 'Erb productions having been identified. One interesting feature inserted into the revues was a period of

community singing led by Nat Phillips. The Sydney Morning Herald notes that by the third week of the season that it

had become a popular custom with the audience.9 In another review in the same newspaper provides an insight into

the Phillips/Foley partnership:

Nat Phillips and Stud Foley, comedians, were the outstanding performers at the Grand Opera House on Saturday

night. The pair act well together. One scene in which they took part, "My Half," was a burlesque on Sydney

robbers. Stud Foley showed how a robber can develop his profession to a fine art. He held up a girl. She had no

money so he made an appointment to hold her up the following day, when she would hand him over a large sum.

[He and Phillips] sang a number of witty songs, which were particularly topical. The audience showed its

appreciation by whole-hearted applause.10

The following week the Herald's theatre critic noted that while Phillips and Stud Foley were again the comedic

highlights of the show, the latter was the more versatile, especially through his facial expressions.11

As noted in his AVTA biography, Nat Phillips' interest in continuing the

revusical format had begun to wane during the final Stiffy and Mo years.

While he did not begin producing his new revue/follies style productions

until late 1930, it is likely that he spent a good deal of time in the year or so

before preparing for the eventual the change of program. This is supported

by the fact that from the opening of the Grand Opera House season on 1

November 1930 the company presented an almost entire series of new

revues. The exceptions were the pantomime Beauty and the Beast (Dec.

1930) and the revusical Meet Mabel (Jan. 1931). These numbered more than

30 new shows staged in a little over 12 months.

Following the conclusion of Meet Mabel in late January 1931, the troupe

returned to playing revue. The troupe remained the same as before the

pantomime except that Stan Foley was replaced by up and coming comedian

Joe Lawman.12

The Phillips/Lawman partnership became a trio from 14

February, however, with the addition of comedian Syd Beck. A week earlier

Phillips engaged three new artists to augment the company – Lulla Fanning,

Will Raynor and June Mills. It was further strengthened in May by the

inclusion of veteran comedian Les Warton, along with Ron Shand and Letty

Craydon.

The Nat Phillips Revue Company ended its Grand Opera House season on 19 July in order to make way for Frank

Neil's Company of Comedians. The suggestion that variety entertainment in Australia was then in demise if seemingly

unfounded given the length of the company's Sydney season, is further weakened by the fact that barely a month later

Phillips returned to the same theatre to begin another four week season. Although essentially the same troupe some

changes had been made, with the most notable being the inclusion of Amy Rochelle. Interestingly the advertising for

this season promotes the partnership of Phillips and Syd Beck, even though Joe Lawman was still in the troupe.

A little over a week after the close of the return Grand Opera House season, Phillips, Lawman and Beck opened at the

Adelaide Tivoli (26 Sept.) with a company billed as Nat Phillips and Syd Beck's Snapshots Revue Company. In

November several new faces were added to the line-up - these being Tom Dunmore, Lynnie Gilbert and the Ricardo

Brothers. On Boxing Day, after almost three months weeks of revue, Phillips put on a re-worked version of his

Cinderella pantomime. Featuring Betty Lambert in the principal girl, the production ran into early January 1932.

Sometime around the 20th the company moved back to Sydney, re-opening at the Grand Opera House on 23 January

for a season of four weeks. The following month Phillips, Lawman, and Dan Weldon briefly appeared in The Follies

of 1932, a "vaudeville stars of the past" show staged at the Theatre Royal (Sydney), beginning 28 March. Among their

fellow veterans were Minnie Love, Stan Foley, Maurice Barling (ex-Barling and Dale), and Winnie Edgerton. It is

presently unclear if Phillips revived his revue company following the Follies of 1932.

8 See Adelphi Theatre (later Tivoli Theatre No 2)

9 "Grand Opera House: Speed and Sparkle." Sydney Morning Herald 24 Nov. (1930), 6.

10 "Frills and Flounces." 6

11 "Grand Opera House: Fun of the Fair." Sydney Morning Herald 8 Dec. (1930), 4.

12 Foley had joined Paul Warton's Frivolities by early December 1929.

Stiffy the porter

Nat Phillips Collection,

Courtesy of the Fryer Library, The University of Queensland.

SEE ALSO

• Nat Phillips • Joe Lawman • Stella Lamond • Daisy Merritt

• Alec Kellaway • Jack Kellaway • Stiffy and 'Erb • Amy Rochelle

• Letty Craydon • Les Warton • Shannon Raye • Harry Ross (2)

• Stan "Stud" Foley • Connors and Paul

HISTORICAL NOTES AND CORRECTIONS

1. While very little has been written about Nat Phillips's and Roy Rene's time apart from each other, an historical

consensus has been maintained since at least the late 1970s, proposing that Phillips's career suffered markedly.13

Accordingly, it has been implied that the reunion was undertaken in order to reignite his flagging career. Research

into Phillips's movements between late 1925 and February 1927 indicates, however, that while subsequent

partnerships such as Stiffy and 'Erb may not have reached to the same level of affinity he and Rene enjoyed, this

period was far from unsuccessful.

Indeed, following a nine-month season in

Perth (ca. February to October 1926), the

Whirligigs travelled to Brisbane, where they

remained for over four months (16 Oct.926 -

18 Feb. 1927). The length of both seasons

was comparable to any of his rivals at that

time, including George Wallace and Jim

Gerald. An analysis of reviews and

comments relating to the Whirligigs's

Brisbane season suggests too that the troupe

maintained a strong and high-profile

presence in the city over that period, with

the season also including a four-week run of

Phillips' popular Robinson Crusoe

pantomime (beginning Boxing Day 1926).

As the Brisbane Courier notes during the

company's final week prior to the return

of Stiffy and Mo: "The Empire Theatre once

again proved the Mecca of vaudeville lovers

on Saturday night when as usual every seat

was filled before the curtain went up. Nor

were patrons disappointed with the fare

provided, for it was of that bright and racy

variety for which this theatre has become

justly famous, and the audiences was kept

simmering with amusement almost from

beginning to end."14

2. The term "Whirligig" - meaning an object (i.e. a top) that spins or whirls - dates back as far as the 1400s. Its

origins in so far as Nat Phillips company are concerned may lay, however, in two plays with references to

whirling - one from his childhood and one which was being staged on the J.C. Williamson circuit in mid-1925.

The first called The Whirligigs was staged as the inaugural production for the newly opened Imperial Opera House

(Sydney) on 25June1892.15

At that time Phillips although aged only about 8, was already appearing as an acrobat

in an amateur show not far from that theatre and would very likely have been aware of it, and may even have seen

it. The second play, Whirled into Happiness (featuring Cecil Kellaway) was drawing to the end of its Adelaide

season around the same time that Phillips and Rene broke up their partnership.

13

See, for example, Victoria Chance's entry in the Companion to Theatre in Australia (1995), 441. 14

Brisbane Courier 14 Feb. (1927), 22. 15

Sydney Morning Herald 27 June (1892), 6.

Brisbane Courier 30 Oct. (1926), 2.

Brisbane Courier 23 Oct.

(1926), 2.

3. In 1931, the year after Joe Lawman joined the troupe, he married fellow Whirligigs comedienne Stella Lamond.

The couple's only child is variety entertainer Toni Lamond (also the mother of actor/entertainer/historian Tony

Sheldon).

Sydney Morning Herald 16 May (1931), 2.

TROUPE PERSONNEL

1. Principal members of the troupe included: Iris Ackworth (1930), Syd Beck (1931-32), Don Bennett (1931),

Bess Bent (1925), Nita Carr (1932), Harry Cash ( 1927), Tom Collins (1928-29), Keith Connelly (1930-32), Mike

Connors (1926), Hal Cooper (1926- 27), Walter Cornock (1929), Letty Craydon (1931), Tom Dale (1931), Paul

Daley (1929), Art Dewer (1931), Dan M. Dunbar (1926-28), Tom Dunmore (1931), Winnie Edgerton (1928-29),

Lulla Fanning (1931), Eve Fenelly (1929), Stan "Stud" Foley (1930), Sylvia Gardner (1929), Lynnie Gilbert

(1930), Joan Graham (1931), Elsie Hoskins (1926, 1931-32), Kathleen Howard (1930), Harry Huley (1925),

William Innes (1925), Heather Jones (1931), Alec Kellaway (1926), Jack Kellaway (1926-29), Betty Lambert

(1931-32), Stella Lamond (1929-32), Hilda Laurence (1927), May Laurence (1927), Joe Lawman (1931-32),

Violet Lester (1931), Bede Lewis (1931), Lewola Brothers - Tommy and Jimmy (1932), Al Mack (1929),

Dorothy Manning (1926-27), Marie Marlow (1931-32), Daisy Merritt (1926-31), June Mills (1925, 1931), Ivy

Moore (1925), Joe Mulvaney (1925), Angela Parselles (1930-32), Queenie Paul (1926), Belle Pollard (1929),

Polly Power (1926-27), Shannon Raye (1925), Will Raynor (1931), Amy Rochelle (1931), Leonard Rich (1925,

1931), Harry Ross [2] (1930), [Master] Dick Ryan (1932), Grace Savieri (1928-29), Cecil Scott (1929-30), Jack

Scott (1928-29), Ron Shand (1931), Hector St Clair (1929), Keith Stewart (1928), Kathrine "Kitty" Stewart

(1929), Irene Vando (1926), Marjorie Vause (1929), Allan Walsh (1925), Hilda Waring 1931), Les Warton

(1931-32), May Webster (1929), Betty Weldon (1932), Dan Weldon (1926-27, 1931-32).

NB: Kitty Stewart's first name is believed to have been Catherine.

2. Musicians included: Charleston Super Six Symphonists (1926-1927) - Incl. Frank Wilson, Cyril 'Tiny'

Douglas, Art Dewar, Frank Morton, Les Clements, Bede Lewis, Syd Clarke); Tiny Douglas and His Varsity

Boys (1928-1929, 1929-1930); Will Osborne and His Orchestra (1932).

Nat Phillips (centre) and Jack Kellaway (front row, far right)

with the Charleston Super Six Symphonists

Nat Phillips Collection (UQFL9)

Courtesy of the Fryer Library, The University of Queensland

3. Special guest or occasional performers included: La Fredas (1932, three female acrobats), Eric Masters (1926),

Betty Weldon (1932), Alexia and Darto (1931), Billy Meeske (1931, athlete/wrestler), Ricardo Bros (1931,

cowboy acrobats), Sidney Clarke (1929), Maurice and Witt (1929), La Fredas Trio (1932)

4. The chorus was again known as the Radio Six.

PRODUCTIONS STAGED: 1925-27 and 1928-1932

Further details on these works can be accessed through the AVTA Works Index or the Nat Phillips entry.

1925: The Plumbers [revusical] • In Mexico [revusical] • Flying High [revusical] • Oh Auntie [revusical]• Law and

Order [revusical] • At the Club [revusical] • En Casserole [revue] • East is West [revusical] • In the Bank

[revusical] • The Waiters [revusical]

1926: On the Wharf [revusical] • Porters [revusical] • Police [revusical] • Waiters [revusical] • Jockeys [revusical] • In

Spain [revusical] • Lords [revusical] • At the Grand [revusical] • Oh Auntie [revusical]

1927: Shopwalkers [revusical] • Waiters [revusical] • In the Hospital [revusical] • Go As You Please [revusical] • In the

Bank [revusical] • The Bailiffs [revusical] • The Wedding Party [revusical] • Convicts in Clover [revusical] •

Buying the Business [revusical] • The Mustard Pot [revusical] • Back Again [revusical] • Have a Bath, Sir! [revusical]

1928: Money to Burn [revusical] • The Cabaret [revusical] • At the Hunt [revusical] • Harem Scarem [revusical]

1929: Who's Who [revusical] • Not Guilty [revusical] • Mama's New Husband [revusical] • Marrying Mary [revusical]

• In Very Old Arizona [revusical] Odd Jobs [revusical] • Mixed Methods [revusical] Eyes Right [revusical] •

Pensions [revusical] • Meet Mabel [revusical] • The Mustard Pot [revusical] • Harem Scarem [revusical] •

Pensions [revusical] • Not Guilty [revusical] • The Waiters [revusical] • In Mexico [revusical] • Police [revusical] •

Oh Auntie [revusical] • The Huntsmen [revusical] • The Plumbers [revusical] • On the Wharf [revusical] •

Porters [revusical] • Shopwalkers [revusical] • On the Beach (aka Lords) [revusical]

1930: Beauty and the Beast [pantomime] • The Dooleys (aka A Pretty Kettle of Fish) [revusical] • Hot Baby [revusical]

• The Sultan [revusical] • O.K. Chief [revusical] • Cure 'em Quick [revusical] • Snap Shots [revue] • Laugh

Parade [revue] • Speed and Sparkle [revue] • Frills and Flounces [revue] • Fun of the Fair [revue] • Painting

the Town Red [revue] • All Smiles [revue] Meet Mabel [revusical] • The Bell Boys [revusical] • Waiters

[revusical] • Oh Auntie [revusical] • In Spain [revusical] • Manicure, Sir? [revusical] • The Huntsman

[revusical] • The Plumbers [revusical] • Pensions [revusical] • Shopwalkers [revusical] • Request Week [revue] •

Beauty and the Beast [pantomime]

1931: Hot and Strong [revue] • Aces High [revue] • Showers of Fun [revue] The Joymakers [revue] • Silver Clouds

[revue] • Tons of Fun [revue] • Happy Hours [revue] • Laughing Faces [revue] • Fine and Dandy [revue] •

Gloom Tonics [revue] • Keep Smiling [revue] • Bubble and Squeak [revue] • Bric-a-Brac [revue] • Our Big

Party [revue] • Fun Spots [revue] • Wise Cracks [revue] • Sure Fire [revue] • A Good Time [revue] • High

Kicks [revue] • Vanities [revue] • Funbursts [revue] • Bits of Fluff [revue] • Ducks and Drakes [revue] • Au

Revoir (aka So Long Folks) [revue] • High Life [revue] • Tip Top [revue] • Laugh Bombs [revue] Meet

Mabel [revusical] • Cinderella [pantomime]

Sydney Morning Herald 28 Mar. (1931), 2

Sydney Morning Herald 31 Jan. (1931), 3.

1932: Back Again [revue] • Heads Up [revue] • Joy Sports [revue] • Au Revoir [revue]

ENGAGEMENTS CHRONOLOGY (1926-1932)

1925: FULLERS: Adelaide (Majestic Theatre; 18 July - 24 Sept. > Debut

season)

1926: WALKER AND DOYLE: Perth (Luxor Theatre; 3 Apr. - 1 Oct. >

26 weeks) • FULLERS: Brisbane (Empire Theatre; 16 Oct. - 31

Dec.)

1927: FULLERS: Brisbane (Empire Theatre; 1 Jan. - 11 Mar. > incl. Stiffy,

Mo and 'Erb season).

1928: FULLERS: Melbourne (Bijou Theatre; 10-31 Dec.)

1929: FULLERS: Melbourne (Bijou Theatre; 1 Jan. - 1 Feb.) • Brisbane

(Empire Theatre; 23 Feb. - 19 July) • Broken Hill, NSW (ca. July-

Aug) • Christchurch, NZ (New Opera House; ca. 2 Sept. - 19

Oct.) NB: Following the Christchurch season Phillips was engaged as producer/

director of Fullers' New Vaudeville and Revue Co - headed by Hector St

Clair. Although other current members of the Whirligigs were also

engaged, including Jack Kellaway, Al Mack and Daisy Merritt, this was

effectively another company. See Nat Phillips entry for details.

1930: HARRY KITCHING: Newtown, Sydney (Bridge Theatre; ca. 11

Jan. -Apr. ► WESTRALIAN VAUDEVILLE Ltd: Perth (Luxor

Theatre; 10 May - 29 Aug.) ► RALPH KRANZT: Broken Hill,

NSW (Crystal Theatre; 4 Oct.- > supporting Stan Foley in Flotsam

and Jetsam) • Broken Hill, NSW(Crystal Theatre; 17 - 20 Oct. > as

Nat Phillips' Revue Co) ► Sydney GEORGE MARLOW: (Grand Opera House; 1 Nov-23 Dec. > Nat Phillips'

Revue Co / 26-31 Dec. > Beauty and the Beast) NB: The Luxor Theatre, Perth, changed management from 12 July 1930.

1931: GEORGE MARLOW: Sydney (Grand Opera House; 1-24 Jan. > Beauty and the Beast / 25 Jan. - 19 July) •

Melbourne (King's Theatre; 25 July -) • Sydney (Grand Opera House, Sydney; 22 Aug. - 18 Sept.) ►

Adelaide (Tivoli Theatre, Adelaide; 26 Sept. - 31 Dec.)

1932: n/e Melbourne (Tivoli Theatre; 1 - ca. 20 Jan.) ► GEORGE MARLOW: Sydney (Grand Opera House; 23

Jan. - 26 Feb.) ► Sydney (Theatre Royal; 28 Mar - ca. Apr. * > Follies of 1932)

Sydney Morning Herald 22 Aug. (1931), 2

Advertiser (Adelaide) 16 Nov. (1931), 2.

Sunday Times (Perth) 8 July (1930), 10.

FURTHER REFERENCE

Djubal, Clay. "Nat Phillips' Whirligigs" AustLit (2006).

"Empire Theatre." Brisbane Courier 25 Feb. (1929), 17.

"Frills and Flounces." Sydney Morning Herald 1 Dec. (1930), 6.

"Grand Opera House." Sydney Morning Herald 9 Feb. (1931), 5.

"Grand Opera House." Sydney Morning Herald 16 Feb. (1931), 5.

"New Revue: Grand Opera House." Sydney Morning Herald 26 Jan. (1931), 2.

Advertiser (Adelaide) 26 Dec. 1931, 2.

Argus 22 Dec. (1928), 24.

The first time the troupe is advertised as

The Whirligigs

Register (Adelaide) 6 Aug.1925, 2.

Brisbane Courier 26 Oct. (1926), 2.

See also:

Age (Melbourne): 24 Dec. (1928), 12.

Advertiser (Adelaide): 6 Aug (1925), 2.

Argus (Melbourne): 11 Dec. (1928), 9.

Brisbane Courier: 9 Oct. (1926), 19 •16 Oct. (1926), 19 • 18 Oct. (1926), 17 • 25 Oct. (1926), 19 • 1 Nov.

(1926), 17 • 8 Nov. (1926), 15 • 15 Nov. (1926), 19 • 22 Nov. (1926), 17 • 29 Nov. (1926),

15 • 6 Dec. (1926), 15 • 11 Dec. (1926), n. pag. • 13 Dec. (1926), 17 • 20 Dec. (1926), 9 •

17 Jan. (1927), 16 • 24 Jan. (1927), 16 • 31 Jan. (1927), 13 • 7 Feb. (1927), 15 • 14 Feb.

(1927), 22 • 26 Feb. (1927), 25.

Everyone's: 5 Dec. (1928), 40.

Register (Adelaide): 17 July (1925), 2 • 25 July 1915, 2 • 27 July 1925, 12.

Sydney Morning Herald: 27 Dec. (1930), 10 • 25 Jan. (1932), 4 • 1 Feb. (1932), 4 • 8 Feb. (1932), 4 • 15 Feb

(1932), 4 • 28 Mar (1932), 2.

Truth (Brisbane): 5 Dec. (1926), 9 • 12 Dec. (1926), 9.

Last updated: 14/08/2016

Expanded and updated from the 2006 AustLit entry. NB: The URL for this PDF will change each time it is updated. If you wish to cite or link to this record please use the following:

Australian Variety Theatre Archive • http://ozvta.com/troupes-m-r/