Cicely Courtneidge

Dame Esmerelda Cicely Courtneidge, (1 April 1893 – 26 April 1980) was an Australian-born British actress, comedian and singer.

The daughter of the producer and playwright Robert Courtneidge, she was appearing in his productions in the West End by the age of 16, and was quickly promoted from minor to major roles in his Edwardian musical comedies.

After the outbreak of the First World War, her father had a series of failures and temporarily withdrew from production.

No other producers offered the young Courtneidge leading roles in musical comedies, and she turned instead to the music hall, learning her craft as a comedian.

The family returned to England in 1894.

Her parents were the Scottish producer and actor Robert Courtneidge and his wife, Rosaline May (née Adams), who worked under the stage name Rosie Nott.

Rosaline was the daughter of the singer and actress Cicely Nott and the sister of three other actresses, including Ada Blanche, a well-known pantomime star.

In 1901, at the age of eight, Courtneidge made her stage debut as the fairy Peaseblossom in her father's production of A Midsummer Night's Dream at the Prince's Theatre, Manchester.

Courtneidge was educated in England and, for two teenage years, in Switzerland.

On returning from the latter, aged 15, she embarked on an acting career, with the approval and encouragement of her parents.

Robert Courtneidge cast her in small ingénue roles in his productions.

Her London West End debut was at the Apollo Theatre in the comic opera Tom Jones (1907), which had a libretto co-written by her father.

Her first starring role was Eileen Cavanagh in the long-running Edwardian musical comedy The Arcadians, which she took over from Phyllis Dare in 1910.

In the piece that followed, The Mousmé (1911), which also featured a book co-written by her father, she was cast in one of the two leading female roles alongside Florence Smithson.

At this stage in Courtneidge's career, there was some feeling in theatrical circles that her elevation to star status was largely due to her being Robert Courtneidge's daughter.

Reviewing The Mousmé, The Observer wrote that the co-authors had "failed to supply any adequate dramatic raison d'être for the prominent character of Miyo, a fair-haired Japanese damsel, embodied by Miss Cicely Courtneidge with much sprightliness but far too much effort, facial and otherwise, of coy significance."

The Times liked her better and praised her "pretty impudence and roguery".

Courtneidge continued to star in her father's productions.

In September 1913, she played the part of Lady Betty Biddulph in the musical comedy The Pearl Girl.

The cast included Ada Blanche; this was the third successive production in which aunt and niece had appeared together.

Also in the cast, in the role of Robert Jaffray, was the 21-year-old Jack Hulbert, making his professional debut after success as an amateur while a Cambridge undergraduate.

In June 1914, Courtneidge and Hulbert starred together in The Cinema Star, an adaptation by Hulbert and Harry Graham of Die Kino-Königin, a 1913 German comic opera by Jean Gilbert.

The piece was a hit for Courtneidge and her father, playing to full houses at the Shaftesbury Theatre until Britain and Germany went to war in August 1914; anti-German sentiment brought the run to an abrupt halt.

In 1914, Courtneidge and Hulbert became engaged to be married, but their plans were delayed by Robert Courtneidge's insistence that they should wait for two years before marrying.

In 1916 she married the actor and dancer Jack Hulbert, with whom she formed a professional as well as a matrimonial partnership that lasted until his death 62 years later.

They acted together on stage and screen, initially in a series of revues, with Hulbert frequently producing as well as performing.

They complied with this injunction and did not marry until February 1916.

Soon after the outbreak of war, Hulbert joined the army.

Courtneidge continued to appear in her father's productions in the West End and on tour.

These were revivals of The Arcadians and The Pearl Girl and three unsuccessful new shows, The Light Blues, My Lady Frayle and Oh, Caesar! (all 1916).

Courtneidge appeared in 12 British films in the 1930s, and one in Hollywood, finding this work to be very lucrative.

She and Hulbert also recorded for Columbia and HMV, returning to the stage in the late 1930s.

During the Second World War, Courtneidge entertained the armed forces and raised funds for the troops.

She then had a long run in Under the Counter, a comedy in which she received glowing notices.

Notable among her other successes was Courtneidge's performance in Ivor Novello's musical Gay's the Word in 1951–52.

During the rest of the decade, she focused on revues and straight plays.

After the mid-1960s, Courtneidge concentrated on the non-musical theatre, appearing in the West End and on tour in a range of plays, both serious and comic.

While appearing in her last West End run in 1971, she celebrated 70 years on the stage.

Afterwards, she continued to work for a further five years before retiring.

Courtneidge, the elder daughter and second of three children, was born in Sydney to a theatrical family, while her father was touring Australia with the J. C. Williamson company.