WEBVTT - A high-wire act for poor Mabel Worley: Part 1.

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<v Speaker 1>And Mabel's brother writes a letter to the State Children's

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<v Speaker 1>Council accusing Mabel of being a prostitute and saying that

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<v Speaker 1>she's living in a brothel just off Hindley Street, and

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<v Speaker 1>that she has hidden her daughter away and that if

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<v Speaker 1>someone goes in checks they'll find that Mabel is being

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<v Speaker 1>very bad. Indeed.

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<v Speaker 2>I'm Jen Kelly from The Herald Son and this is

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<v Speaker 2>in Black and White, a podcast about some of Australia's

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<v Speaker 2>forgotten characters. Today we're returning to the late eighteen hundreds

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<v Speaker 2>and the dramatic tale of a vaudeville performer called Mabel Warling.

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<v Speaker 2>Mabel gave birth in a destitute asylum after falling pregnant

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<v Speaker 2>in scandalous circumstances. Then she ran away, joined a circus

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<v Speaker 2>and rubbed shoulders with star entertainers of her day, before

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<v Speaker 2>she lapsed into a life of crime. To tell us

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<v Speaker 2>the remarkable tale, we're chatting today with Carin Ball, Senior

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<v Speaker 2>curator at the History Trust of South Australia. Karin has

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<v Speaker 2>written a book called Three Ring Circuits, The dramatic, mysterious

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<v Speaker 2>and tragic life of Mabel Wallely, a gestitute asylum girl

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<v Speaker 2>and you can find a link in the show notes

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<v Speaker 2>to this episode. Welcome to the podcast, Karin, Hello, thank

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<v Speaker 2>you for having me.

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<v Speaker 1>Now.

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<v Speaker 2>I love the evocative title of your book. It says

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<v Speaker 2>so much. It's called Three Ring Circus. The dramatic, mysterious

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<v Speaker 2>and tragic Life of Mabel Wally, a destitute asylum girl.

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<v Speaker 2>Mabel really did pack a lot into her seven decades

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<v Speaker 2>of life, didn't she.

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<v Speaker 1>She really did. Yes, yes, So she gives birth to

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<v Speaker 1>a daughter in the destitute asylum. She gets married, domestic

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<v Speaker 1>life never really works out for her, so she quite

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<v Speaker 1>literally runs away and joins a circus. This leads into

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<v Speaker 1>a tale of love and loss. She rubs shoulders with

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<v Speaker 1>some of the big star entertainers per day, but then

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<v Speaker 1>it all goes wrong. The wheels fall off, and lapses

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<v Speaker 1>into a life of crime and spends the last thirty

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<v Speaker 1>years of her life living rough on the streets of

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<v Speaker 1>Adelaide and Melbourne, and spends a lot of time in

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<v Speaker 1>prison for being drunken, disorderly and a vagrant. So she

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<v Speaker 1>has a very sensational tale, but things go wrong. I

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<v Speaker 1>like to say, up, roll up for this tale of sex, stardom,

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<v Speaker 1>betrayal and secrets.

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<v Speaker 2>Such a tragic story. Where does the whole tale begin? Korean?

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<v Speaker 1>So it begins in little Adelaide, little old Adelaide, sleepy Adelaide,

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<v Speaker 1>at the far edges of the British Empire. So she's

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<v Speaker 1>born into this very volatile world of people coming and going,

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<v Speaker 1>high traffic area. There's theaters, there's brothels, there's prostitutes, there's politicians.

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<v Speaker 1>So she's born into this very vibrant world where the

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<v Speaker 1>European population of South Australia is surging past one hundred thousand.

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<v Speaker 1>And she from very early on, as many working class

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<v Speaker 1>girls of her situation, she gets typified as a bad

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<v Speaker 1>girl very early on. So when she's fourteen, she's surrendered

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<v Speaker 1>by her mother to the care of the South Australian

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<v Speaker 1>government as an uncontrollable girl. And in that context, uncontrollability

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<v Speaker 1>usually means sexual activity. Boys are surrendered much less for uncontrollability,

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<v Speaker 1>usually for things like petty theft, disorderly behavior like throwing

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<v Speaker 1>stones at trains, all that kind of thing. For girls,

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<v Speaker 1>it's much more associated with bad behavior and bad sexual behavior.

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<v Speaker 1>But you know, Mabel's a teenager. She's doing what teenagers

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<v Speaker 1>have always done. But she's yes, So she's surrendered by

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<v Speaker 1>her mother as uncontrollable and she ends up at the

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<v Speaker 1>girl's reformatory.

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<v Speaker 2>And Karin, would she have been at school at all?

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<v Speaker 1>Yes, I don't have any schooling records for her, but

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<v Speaker 1>the records from that period of the late eighteen seventies

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<v Speaker 1>early eighteen eighties are quite patchy. But we can tell

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<v Speaker 1>from later letters that are on file with government records

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<v Speaker 1>that she has a very good, very good hand, She's

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<v Speaker 1>got good and writing, and she composes her thoughts well.

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<v Speaker 1>The research I've done into the family seems to indicate

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<v Speaker 1>that one of her sisters might have been a student

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<v Speaker 1>teacher for a while, so I think that's where she

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<v Speaker 1>gets her good handwriting and way of composing herself on paper.

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<v Speaker 1>But I don't have any firm information about her education

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<v Speaker 1>because she's just in this very early period of compulsory

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<v Speaker 1>education in South Australia.

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<v Speaker 2>And was she actually working as a prostitute? Do you

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<v Speaker 2>think at some stage?

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<v Speaker 1>Well, she certainly gets accused as such by her brother

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<v Speaker 1>later down the track, but I might get to that

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<v Speaker 1>in a moment when she's you know, when she's an

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<v Speaker 1>uncontrollable girl being sent to the reformatory. It's probably much

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<v Speaker 1>less serious. You know, it might be talking about but

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<v Speaker 1>she might have a boyfriend, she might be engaging in

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<v Speaker 1>sexual exploration, that sort of thing. But you know, she's

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<v Speaker 1>really just a teenager being a teenager and doing what

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<v Speaker 1>teenagers do. So at the reformatory, she's given basic training

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<v Speaker 1>on household tasks. She didn't already know those things from

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<v Speaker 1>being in her parents' boarding house. And then she is

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<v Speaker 1>sent out into service. So she's fifteen or so, and

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<v Speaker 1>she's sent to work as a domestic at a house

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<v Speaker 1>in Norton Summit, so up in the Adelaide Hills, a

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<v Speaker 1>million miles away in many ways from the wild west

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<v Speaker 1>end of Adelaide. So she's sent to this house called

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<v Speaker 1>Grove Hill, which is owned by the Giles family. We

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<v Speaker 1>are a very wealthy family. And yeah, so she's at

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<v Speaker 1>this lovely property in the hills which is surrounded by

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<v Speaker 1>orchards and gardens and has all this beautiful architecture. And

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<v Speaker 1>while she's there, she becomes pregnant to the young man

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<v Speaker 1>of the house. Ah.

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<v Speaker 2>Interesting, So the young man of the house as in

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<v Speaker 2>a sort of the one of the children of the house,

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<v Speaker 2>one of the teenagers.

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<v Speaker 1>So yes, yes, he's nineteen nineteen sixteen by that point

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<v Speaker 1>just about we know, you know from later descriptions of

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<v Speaker 1>her that she's you know, she's tallish, she's five for

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<v Speaker 1>three five four, she's slim, she's got Hayes lies and

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<v Speaker 1>being mable. She has a wild streak a mile wide,

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<v Speaker 1>and she attracts the attention of this young man, Charles Giles,

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<v Speaker 1>who's the young man of the house. And what's key

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<v Speaker 1>to their relationship is that when he's twenty one, he

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<v Speaker 1>will inherit the entire estate from his grandfather. So yes,

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<v Speaker 1>so she is returned to the to the State Children's

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<v Speaker 1>Council from Grove Hill. She's initially returned as unwell, but

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<v Speaker 1>it's rapidly discovered that she's pregnant.

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<v Speaker 2>Ah, and she was obviously just working as a maid

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<v Speaker 2>while she was at this amazing home.

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<v Speaker 1>Yes, yes, so she's just a house stage, she's just

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<v Speaker 1>a domestic servant. And this is what you know, this

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<v Speaker 1>is what happens to girls in service. They go out

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<v Speaker 1>and they work as domestics, or they work for small businesses,

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<v Speaker 1>that sort of thing. Boys tend to be sent to

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<v Speaker 1>farms for agricultural labor, that sort of stuff. Or into apprenticeships.

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<v Speaker 2>So what happens to this baby, given it's illegitimate, does

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<v Speaker 2>it stand to inherit this fortune?

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<v Speaker 1>Probably not, I think that's probably quite unlikely. But for

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<v Speaker 1>some reason, and we don't know exactly why the Giles

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<v Speaker 1>family pays the State Children's Council one hundred and fifty

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<v Speaker 1>pounds in consideration of all demands. Now, I have spent

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<v Speaker 1>a lot of time going through the correspondence books for

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<v Speaker 1>various of these institutions, and I can't find any correspondence

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<v Speaker 1>that tells us why they paid this one hundred and

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<v Speaker 1>fifty pounds. But it's a very very unusual tacit admission

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<v Speaker 1>of paternity on behalf of the Giles.

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<v Speaker 2>Family, and it's also a huge amount of money at

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<v Speaker 2>that time.

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<v Speaker 1>I'm assuming it really is. Yes, we did the maths

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<v Speaker 1>and it's twelve years dipend for a state child. So

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<v Speaker 1>it's what the family is basically paying off the government

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<v Speaker 1>for having to look after this child for the twelve

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<v Speaker 1>years that is the minimum that they would be that

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<v Speaker 1>she would be in care. So Mabel has this baby

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<v Speaker 1>at the lying in home of the Destitute Asylum. So

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<v Speaker 1>if anybody's been to the migration museum in Adelaide, my

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<v Speaker 1>form alma mata. The two story building in the courtyard,

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<v Speaker 1>that's the lying in home. So Mabel would have had

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<v Speaker 1>her daughter in one of the upper upstairs labor wards.

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<v Speaker 1>And so that's the twenty sixth of November eighteen eighty eight,

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<v Speaker 1>and she has a little girl that she calls Hillgrove.

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<v Speaker 1>So Hillgrove is not usually a girl's name, it's a

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<v Speaker 1>boy's name, and it is significantly the name of Charles

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<v Speaker 1>Giles's deceased little brother, who died about five years before

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<v Speaker 1>Mabel goes to work at the house. So I suspect

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<v Speaker 1>that this is a potentially loving and consensual relationship between

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<v Speaker 1>Mabel and the young man of the house. It might

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<v Speaker 1>not have been. She wouldn't be the first maid to

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<v Speaker 1>be despoiled by a man of the house, and she

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<v Speaker 1>certainly wouldn't be the last. But the fact that she

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<v Speaker 1>calls her child this family name, it could be a

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<v Speaker 1>big middle finger from Mabel to the Giles's But it

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<v Speaker 1>could also be a much more loving and consensual relationship. Yeah.

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<v Speaker 2>Well, even the fact that she knows the name of

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<v Speaker 2>the deceased little brother.

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<v Speaker 1>Yes, yes, actually, that's an excellent point. I had never

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<v Speaker 1>thought about that, so thank you for that wonderful detail.

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<v Speaker 1>So yes, so she named this child Hillgrove and that

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<v Speaker 1>does not go down very well at all.

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<v Speaker 2>How do you know that?

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<v Speaker 1>Because the State Children's Council make her change the child's name.

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<v Speaker 2>Oh my goodness.

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<v Speaker 1>So it happens at some point in the baby's first

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<v Speaker 1>few months, but her birth is registered as Hillgrove Warley,

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<v Speaker 1>and then by the time she's six months to a

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<v Speaker 1>year old, she's now being referred to in the official

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<v Speaker 1>documentation as Eleanor Giles Worley. So she's had her name

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<v Speaker 1>changed from Hillgrove, but she still retains the Giles. So

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<v Speaker 1>really interesting speculation. I don't have any firm answers, but

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<v Speaker 1>that and the payment, the one hundred and fifty pounds payment,

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<v Speaker 1>does make me wonder if it's genuinely loving relationship. It

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<v Speaker 1>could also be, you know, an aion of a tacit

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<v Speaker 1>admission of guilt. It could be payoff to the authorities

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<v Speaker 1>for keeping is quiet. It could be all sorts of things.

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<v Speaker 1>But yes, there's lots to speculate about, maybe of costumesities,

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<v Speaker 1>any of that money. You know that undred and fifty

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<v Speaker 1>pounds doesn't go to her, it goes to the government.

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<v Speaker 1>She may not even know that one hundred and fifty

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<v Speaker 1>pounds ever existed, but yes, it certainly. As a researcher,

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<v Speaker 1>that really kind of caught my attention and made me think, oh,

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<v Speaker 1>what's going on here. There's all interesting stuff going on

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<v Speaker 1>in the background.

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<v Speaker 2>Amazing, there's so much intrigue in her life and she's

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<v Speaker 2>not even yet an adult.

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<v Speaker 1>Yes, yes, she's only a teenager at this point.

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<v Speaker 2>We'll be back shortly to find out what happened next,

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<v Speaker 2>So stay with us. So what happens once she becomes

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<v Speaker 2>so she's able to stay there until she's eighteen, and

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<v Speaker 2>then what happens then?

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<v Speaker 1>So what happens next is Mabel turns eighteen, and she

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<v Speaker 1>collects her daughter from the industrial Score and she goes

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<v Speaker 1>about her way. But things don't go smoothly. And we

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<v Speaker 1>talked earlier about whether she's accused of prostitution. Her daughter

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<v Speaker 1>is probably about a year and a half, yes, she

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<v Speaker 1>said Toddler and Mabel's brother writes a letter to the

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<v Speaker 1>State Children's Council accusing Mabel of being a prostitute and

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<v Speaker 1>saying that she's living in a brothel just off Hindley Street,

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<v Speaker 1>and that she has hidden her daughter away and that

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<v Speaker 1>if someone goes and checks, they'll find that Mabel is

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<v Speaker 1>being very bad indeed, and this causes a great flurry

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<v Speaker 1>at the State Children's Counsel, who send an inspector round

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<v Speaker 1>to do a check, and they find Mabel in bed

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<v Speaker 1>in the middle of the day with a young man

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<v Speaker 1>partially clothed, and of course this doesn't look good at all,

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<v Speaker 1>and they go and pick up her daughter from the

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<v Speaker 1>foster mother that Mabel has secreted her with, and they

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<v Speaker 1>take the child into care, and poor Mabel, she really

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<v Speaker 1>suffers from this decision. She writes several letters to the

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<v Speaker 1>State Children's Council asking for her child back, but of

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<v Speaker 1>course she's been judged of being of low repute and

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<v Speaker 1>poor character, and they're not going to release the child

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<v Speaker 1>to her. So Mabel's about eighteen and a half, she's

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<v Speaker 1>nearly nineteen at this point, and what's she going to do?

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<v Speaker 1>She has no legal recourse to get her child back.

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<v Speaker 1>The State Children's Counsel is her baby's legal guardian because

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<v Speaker 1>she's been found of living in a brothel and her

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<v Speaker 1>mother is a poor character. So she thinks about it

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<v Speaker 1>for a little while, and Mabel being Mabel, she's always

0:12:15.640 --> 0:12:19.520
<v Speaker 1>got a wily solution to these sorts of problems. And

0:12:19.800 --> 0:12:23.720
<v Speaker 1>she gets married in July eighteen ninety one. She marries

0:12:23.800 --> 0:12:27.120
<v Speaker 1>a young man called Henry Hawkins, and he is very

0:12:27.160 --> 0:12:30.000
<v Speaker 1>slightly higher than her in the social scale. He has

0:12:30.120 --> 0:12:32.680
<v Speaker 1>quite a whiff of drama about him. He was born

0:12:32.679 --> 0:12:35.679
<v Speaker 1>in colonial Fiji and came to Australia when he was

0:12:35.720 --> 0:12:40.680
<v Speaker 1>a very small child, and his father very dramatically dies

0:12:41.120 --> 0:12:44.400
<v Speaker 1>or died in eighteen seventy two on one of the

0:12:44.440 --> 0:12:49.319
<v Speaker 1>Northern Telegraph the Overland telegraph Line expeditions. So Henry has

0:12:49.360 --> 0:12:53.000
<v Speaker 1>this little kind of cachet of colonial drama, and he's

0:12:53.040 --> 0:12:55.880
<v Speaker 1>born overseas, and he's a printer. He's only young, he's

0:12:55.920 --> 0:12:58.040
<v Speaker 1>in his early twenties. He's two or three years older

0:12:58.080 --> 0:13:02.559
<v Speaker 1>than her, and he works at a the Christian Colonist newspaper.

0:13:02.800 --> 0:13:05.320
<v Speaker 1>And so the day after the wedding he starts writing

0:13:05.360 --> 0:13:08.240
<v Speaker 1>to the State Children's Council saying I would like to

0:13:08.280 --> 0:13:12.120
<v Speaker 1>take charge of my stepdaughter please. Actually those letters aren't

0:13:12.200 --> 0:13:14.920
<v Speaker 1>very successful, and you can see the letters at State

0:13:15.000 --> 0:13:18.120
<v Speaker 1>Records at Cavern. It was an utter delight to be

0:13:18.200 --> 0:13:21.320
<v Speaker 1>able to go to State records. Wonderful colleagues, and they

0:13:21.400 --> 0:13:24.080
<v Speaker 1>got the letters out for us, so we could read

0:13:24.240 --> 0:13:27.240
<v Speaker 1>Henry's letters to the State Children's Council and Mabel's letters

0:13:27.320 --> 0:13:31.680
<v Speaker 1>to the State Children's Council, and it's really wonderful. It

0:13:31.679 --> 0:13:34.000
<v Speaker 1>puts you over their shoulder, just really looking at how

0:13:34.040 --> 0:13:36.000
<v Speaker 1>they feel where they're trying to get this child that

0:13:36.120 --> 0:13:39.080
<v Speaker 1>means so much to both of them, trying to get

0:13:39.080 --> 0:13:40.960
<v Speaker 1>her return to them and.

0:13:41.040 --> 0:13:44.160
<v Speaker 2>Finding it had to understand why they were still refused.

0:13:44.240 --> 0:13:47.680
<v Speaker 2>If there were two loving parents that wanted to adopt

0:13:47.800 --> 0:13:49.080
<v Speaker 2>or to take back this child.

0:13:50.400 --> 0:13:54.600
<v Speaker 1>Well, Henry apparently has reputation for being a drinker, so

0:13:54.640 --> 0:13:56.480
<v Speaker 1>there's a note on the bottom of the file that

0:13:56.520 --> 0:14:00.120
<v Speaker 1>says that he has a poor reputation as well, and

0:14:00.160 --> 0:14:02.880
<v Speaker 1>that initially it's not thought that it's in the interest

0:14:02.920 --> 0:14:05.400
<v Speaker 1>of the child, but something changes. They eventually managed to

0:14:05.440 --> 0:14:08.200
<v Speaker 1>persuade the State Children's counsel to give it a try,

0:14:08.679 --> 0:14:12.560
<v Speaker 1>and so little toddler Eleanor she's called Eleanor at that point,

0:14:12.559 --> 0:14:14.920
<v Speaker 1>and we think her nickname is probably nell Or Nellie,

0:14:14.960 --> 0:14:18.760
<v Speaker 1>and she is returned to Mabel and Hawkins.

0:14:19.360 --> 0:14:23.240
<v Speaker 2>Amazing, and what happens next. So for a little while

0:14:23.560 --> 0:14:26.920
<v Speaker 2>they're a happy family. They're a happy family, and that's

0:14:26.960 --> 0:14:30.760
<v Speaker 2>the early few years of the eighteen nineties. They pass

0:14:30.840 --> 0:14:33.080
<v Speaker 2>in wonderful serenity. Nothing happens.

0:14:33.120 --> 0:14:37.920
<v Speaker 1>They're inspected regularly that the household is doing well and

0:14:38.000 --> 0:14:40.480
<v Speaker 1>that the child is being well cared for. And then

0:14:40.520 --> 0:14:44.320
<v Speaker 1>in eighteen ninety four, Henry requests permission to take eleanor

0:14:44.400 --> 0:14:47.920
<v Speaker 1>baby Eleanor out of South Australia. They're planning a trip

0:14:47.920 --> 0:14:50.160
<v Speaker 1>to New South Wales and they're going to take this

0:14:50.320 --> 0:14:53.320
<v Speaker 1>child out of the state, out of the colony, sorry

0:14:53.440 --> 0:14:55.320
<v Speaker 1>as it was at the time, And they get permissioned

0:14:55.320 --> 0:14:57.720
<v Speaker 1>to do that, and nothing has heard of them for

0:14:57.760 --> 0:15:02.360
<v Speaker 1>two years, and they come back in eighteen ninety six. Now,

0:15:03.400 --> 0:15:05.680
<v Speaker 1>from the point of view of the State Children's Council,

0:15:05.760 --> 0:15:08.200
<v Speaker 1>this is all fine. She's been traveling with her stepfather,

0:15:08.320 --> 0:15:12.960
<v Speaker 1>that's all well and good. But what it's happening behind

0:15:13.000 --> 0:15:15.800
<v Speaker 1>the scenes, what is happening behind the scenes, is much

0:15:15.880 --> 0:15:20.160
<v Speaker 1>much more interesting. So it turns out that Mabel has

0:15:20.280 --> 0:15:23.520
<v Speaker 1>a career as a vaudeville singer, and her daughter has

0:15:23.640 --> 0:15:27.000
<v Speaker 1>also been singing on the stage as a small child.

0:15:27.000 --> 0:15:29.720
<v Speaker 1>So as four and five year old. She's performing at

0:15:29.760 --> 0:15:34.760
<v Speaker 1>the races because Mabel's brothers are jockeys and she's performing

0:15:35.120 --> 0:15:38.080
<v Speaker 1>on the stage. And when this news hits the State

0:15:38.160 --> 0:15:41.240
<v Speaker 1>Children's Council they go ballistic threat to take the child

0:15:41.320 --> 0:15:41.880
<v Speaker 1>away again.

0:15:42.520 --> 0:15:47.680
<v Speaker 2>So were they traveling in New South Wales and performing

0:15:48.000 --> 0:15:52.160
<v Speaker 2>on stages around New South Wales or was that all

0:15:52.320 --> 0:15:53.760
<v Speaker 2>just a bit of a furfee.

0:15:55.640 --> 0:15:58.000
<v Speaker 1>It's very hard to tell because there's lots of changes

0:15:58.040 --> 0:16:03.320
<v Speaker 1>of names, and it's across multiple colonial lines. Before nineteen hundred,

0:16:03.360 --> 0:16:08.040
<v Speaker 1>all of these colonies have entirely separate administrations. So from

0:16:08.080 --> 0:16:10.640
<v Speaker 1>what I've been able to piece together, Mabel travels to

0:16:10.680 --> 0:16:14.520
<v Speaker 1>New Zealand, she begins performing as her stage name is

0:16:14.520 --> 0:16:18.920
<v Speaker 1>Triscy Darcy, and her little daughter is also performing with

0:16:19.320 --> 0:16:22.800
<v Speaker 1>Mabel's brothers who have a small kind of traveling show

0:16:22.880 --> 0:16:27.000
<v Speaker 1>at this point. And then so when Mabel comes back

0:16:27.000 --> 0:16:29.760
<v Speaker 1>in early eighteen ninety six, her daughter is also performing

0:16:30.520 --> 0:16:34.200
<v Speaker 1>with this traveling show, and that's when the State Children's

0:16:34.200 --> 0:16:36.040
<v Speaker 1>Council gets wind of it. They've managed to keep its

0:16:36.080 --> 0:16:39.160
<v Speaker 1>secret while they've been into state. They've probably been further

0:16:39.240 --> 0:16:41.160
<v Speaker 1>than New South Wales. They may have even gone as

0:16:41.160 --> 0:16:44.480
<v Speaker 1>far as Fiji to go and see Henry Hawkins family.

0:16:44.520 --> 0:16:47.800
<v Speaker 1>But I haven't found any definitive proof of that. But yes,

0:16:48.040 --> 0:16:51.320
<v Speaker 1>they're desperate to keep this performance aspect quiet from the

0:16:51.320 --> 0:16:54.800
<v Speaker 1>State Children's Council because obviously vaudeville and the theater and

0:16:54.920 --> 0:16:58.000
<v Speaker 1>circus they're all considered to be quite low forms of entertainment,

0:16:58.360 --> 0:17:01.600
<v Speaker 1>some lower than others, and it's not felt to be

0:17:02.320 --> 0:17:04.240
<v Speaker 1>in the best interests of the child. So they're trying

0:17:04.280 --> 0:17:07.520
<v Speaker 1>to keep the secret. But somebody spots them and it

0:17:07.560 --> 0:17:09.680
<v Speaker 1>all goes to.

0:17:08.880 --> 0:17:13.359
<v Speaker 3>Pooh, have you been able to come? Have you come

0:17:13.359 --> 0:17:17.800
<v Speaker 3>across any more descriptions of the show and what Mabel

0:17:17.840 --> 0:17:20.440
<v Speaker 3>and her daughter were doing. Was it singing and dancing

0:17:20.480 --> 0:17:24.879
<v Speaker 3>and so forth? Yes, there's lots of singing. Mabel is

0:17:24.880 --> 0:17:28.919
<v Speaker 3>described as a serio comic, which means that she's doing.

0:17:29.119 --> 0:17:31.320
<v Speaker 1>You know, kind of light operetta, that sort of thing.

0:17:31.840 --> 0:17:35.000
<v Speaker 1>Apparently she has a really nice voice. Her daughter is

0:17:35.160 --> 0:17:38.640
<v Speaker 1>quite the stage sensation. So she's by eighteen ninety six,

0:17:38.760 --> 0:17:43.560
<v Speaker 1>she's seven or eight, she's eight, and she is causing

0:17:43.560 --> 0:17:47.840
<v Speaker 1>a real flurry when she's performing. She's probably doing sentimental ballads,

0:17:47.880 --> 0:17:50.359
<v Speaker 1>plantation songs, that sort of thing is very popular in

0:17:50.400 --> 0:17:54.240
<v Speaker 1>the eighteen nineties. What is also happening on stage is

0:17:54.280 --> 0:17:57.160
<v Speaker 1>around Australia and around the anglophone world, is that people

0:17:57.200 --> 0:18:00.520
<v Speaker 1>are doing a lot of work in blackface. So I

0:18:00.520 --> 0:18:02.480
<v Speaker 1>don't know if you remember things like the Black and

0:18:02.480 --> 0:18:05.040
<v Speaker 1>White minstrel show that used to be on TV in

0:18:05.119 --> 0:18:10.000
<v Speaker 1>the seventies and eighties. That sort of blackface performance has

0:18:10.040 --> 0:18:12.199
<v Speaker 1>a long, long history. It's got hundreds of years of

0:18:12.280 --> 0:18:17.399
<v Speaker 1>history of white folks blacking up to perform, and in

0:18:17.440 --> 0:18:20.320
<v Speaker 1>the late the latter part of the nineteenth century, it's

0:18:20.400 --> 0:18:24.000
<v Speaker 1>everywhere everybody is performing, So it's unlikely that Mabel her

0:18:24.119 --> 0:18:26.560
<v Speaker 1>daughter did, but they would be on stage with male

0:18:26.800 --> 0:18:30.000
<v Speaker 1>actors and singers who were performing in blackface. There was

0:18:30.040 --> 0:18:33.120
<v Speaker 1>also quite a bit of cross dressing on stage, which

0:18:33.240 --> 0:18:36.560
<v Speaker 1>was very titillating to audiences, but also causes a lot

0:18:36.560 --> 0:18:40.800
<v Speaker 1>of tension that these gender roles can be dispensed with

0:18:40.880 --> 0:18:43.800
<v Speaker 1>so easily. It's all the sort of stuff that you

0:18:43.840 --> 0:18:46.479
<v Speaker 1>know is swirling around us now with this people on

0:18:46.480 --> 0:18:48.680
<v Speaker 1>the right getting upset about drag and all that sort

0:18:48.720 --> 0:18:51.960
<v Speaker 1>of thing and seen as destabilizing in many ways. So

0:18:52.520 --> 0:18:56.720
<v Speaker 1>the vaudeville and live performance world and circus world of

0:18:56.760 --> 0:18:59.840
<v Speaker 1>the late nineteenth centuries is a much more interesting place

0:19:00.720 --> 0:19:04.720
<v Speaker 1>we might think these days. It's very it's very international.

0:19:04.840 --> 0:19:07.080
<v Speaker 1>All of these troops know each other, all of the

0:19:07.119 --> 0:19:11.199
<v Speaker 1>performers are interconnected in many ways. They're either related, or

0:19:11.200 --> 0:19:13.399
<v Speaker 1>they've worked with each other, or they owe each other money,

0:19:13.480 --> 0:19:16.280
<v Speaker 1>or they've got their big break together. So this is

0:19:16.320 --> 0:19:18.800
<v Speaker 1>how Mabel and her daughter start performing on stages in

0:19:18.880 --> 0:19:22.000
<v Speaker 1>particularly in Adelaide on Hindy Street with some of the

0:19:22.040 --> 0:19:24.479
<v Speaker 1>really quite upcoming names of the day, who will then

0:19:24.560 --> 0:19:26.880
<v Speaker 1>go on to perform around Australia and internationally.

0:19:27.800 --> 0:19:29.760
<v Speaker 2>And was it always a mother and daughter act? Were

0:19:29.800 --> 0:19:31.000
<v Speaker 2>they always performing together?

0:19:31.960 --> 0:19:34.600
<v Speaker 1>I don't think so. No. I think that Mabel often

0:19:34.760 --> 0:19:36.600
<v Speaker 1>is traveling on her own, and I think that that

0:19:36.720 --> 0:19:39.960
<v Speaker 1>means that her daughter is with either with her father

0:19:40.480 --> 0:19:43.600
<v Speaker 1>or with one of Mabel's brothers and their families. So

0:19:43.640 --> 0:19:48.119
<v Speaker 1>Mabel has three brothers. The oldest one, Walter, is the

0:19:48.119 --> 0:19:50.000
<v Speaker 1>one who accuses her of being a prostitute, and they

0:19:50.000 --> 0:19:53.359
<v Speaker 1>obviously have quite a difficult relationship. Her middle brother, Frank,

0:19:53.480 --> 0:19:56.360
<v Speaker 1>is her favorite brother, and then her youngest brother, Alfred,

0:19:56.440 --> 0:19:58.480
<v Speaker 1>is the baby of the family. So Frank has a

0:19:58.520 --> 0:20:02.840
<v Speaker 1>small traveling show, which they end up calling Barton's Circus.

0:20:03.600 --> 0:20:06.240
<v Speaker 1>Barton is the family stage name, and that's one of

0:20:06.240 --> 0:20:08.560
<v Speaker 1>the reasons why it's so difficult to track all these

0:20:08.600 --> 0:20:11.600
<v Speaker 1>people because they're using Barton, they're using Darcy, they're never

0:20:11.680 --> 0:20:15.240
<v Speaker 1>using Walley or Hawkins, but they're using lots of other pseudonyms.

0:20:16.080 --> 0:20:19.840
<v Speaker 1>Throughout her long life, Mabel understands the power of crafting

0:20:19.920 --> 0:20:22.280
<v Speaker 1>a new identity by sliding on the new name. You know,

0:20:22.400 --> 0:20:25.720
<v Speaker 1>she changes names like she's changing her dress. She puts

0:20:25.760 --> 0:20:29.760
<v Speaker 1>on accents to pretend to be from elsewhere. She's clearly

0:20:29.840 --> 0:20:34.240
<v Speaker 1>drawing on this huge family performance vein of you know,

0:20:34.280 --> 0:20:37.080
<v Speaker 1>the family has been performing for several decades. It actually

0:20:37.080 --> 0:20:39.119
<v Speaker 1>turns out, and that's one of the things that happens

0:20:39.160 --> 0:20:42.080
<v Speaker 1>in the book is that I uncover the history of

0:20:42.119 --> 0:20:45.480
<v Speaker 1>this family performance gene you might say, which turns out

0:20:45.520 --> 0:20:49.280
<v Speaker 1>to have its genesis right in the eighteen seventies. I

0:20:49.480 --> 0:20:50.320
<v Speaker 1>get to that later.

0:20:50.560 --> 0:20:53.600
<v Speaker 2>And did Henry ever perform or was he more of

0:20:53.640 --> 0:20:54.840
<v Speaker 2>a backstage manager.

0:20:55.480 --> 0:20:57.879
<v Speaker 1>I think he does do some performing. There's a couple

0:20:57.880 --> 0:21:00.560
<v Speaker 1>of reports that he is traveling with a fox. So

0:21:00.600 --> 0:21:03.639
<v Speaker 1>this is when Edison has developed the phonograph of the

0:21:03.680 --> 0:21:07.239
<v Speaker 1>wax cylinders. People might be familiar. You can always google it,

0:21:07.800 --> 0:21:10.720
<v Speaker 1>so that it's a way of recording sound that's very

0:21:10.720 --> 0:21:14.840
<v Speaker 1>new and very exciting. And so he is traveling as

0:21:14.920 --> 0:21:18.719
<v Speaker 1>mister Darcy with a phonograph. And then the brothers, Mabel's

0:21:18.760 --> 0:21:21.760
<v Speaker 1>brothers have this small performing circus and they're doing all

0:21:21.760 --> 0:21:25.000
<v Speaker 1>the side shows and playing at the races again and

0:21:25.040 --> 0:21:28.000
<v Speaker 1>doing all these little venues around South Australia, Country, South

0:21:28.000 --> 0:21:31.560
<v Speaker 1>Australia and Victoria. And really that's how they kind of

0:21:31.640 --> 0:21:35.840
<v Speaker 1>keep going until the end of the eighteen nineties. And

0:21:35.880 --> 0:21:39.360
<v Speaker 1>then in eighteen ninety nine they notify the State Children's

0:21:39.359 --> 0:21:42.440
<v Speaker 1>Council that they're moving to Melbourne and Mabel and her

0:21:42.520 --> 0:21:45.399
<v Speaker 1>daughter disappear out of the historical record.

0:21:45.640 --> 0:21:48.399
<v Speaker 2>We'll be back shortly to hear more about Mabel's life,

0:21:48.480 --> 0:21:57.920
<v Speaker 2>so stay with us so before they disappear. Just from

0:21:57.960 --> 0:21:59.480
<v Speaker 2>the records that you do have, do you get any

0:21:59.480 --> 0:22:04.440
<v Speaker 2>impression about whether Mabel's daughter enjoyed being on the vaudeville

0:22:04.520 --> 0:22:06.359
<v Speaker 2>circuit or whether she was forced into this.

0:22:07.480 --> 0:22:11.680
<v Speaker 1>Well, no, I think she really enjoyed it. I've read

0:22:11.760 --> 0:22:14.560
<v Speaker 1>quite a few biographies of circus families from the period

0:22:14.680 --> 0:22:16.840
<v Speaker 1>and the general consensus seemed to be because this is

0:22:16.880 --> 0:22:20.280
<v Speaker 1>the golden age of Australian circus, so the eighteen eighties

0:22:20.280 --> 0:22:23.760
<v Speaker 1>to the nineteen teens really once moving pictures come along

0:22:24.119 --> 0:22:26.440
<v Speaker 1>in a serious way. In the nineteen teens, it kind

0:22:26.480 --> 0:22:29.600
<v Speaker 1>of starts to fall off. But these last couple of

0:22:29.680 --> 0:22:33.040
<v Speaker 1>decades and first decade of the New century are really

0:22:33.040 --> 0:22:36.480
<v Speaker 1>considered a golden age of Australian circus, and family troops

0:22:36.480 --> 0:22:39.320
<v Speaker 1>would travel the length and breadth of the country. It

0:22:39.359 --> 0:22:41.800
<v Speaker 1>was a very free world for children in some ways.

0:22:41.840 --> 0:22:44.280
<v Speaker 1>You know, they didn't do a lot of schooling. They

0:22:44.320 --> 0:22:47.440
<v Speaker 1>got to be with friends who were having lots of adventures.

0:22:47.480 --> 0:22:49.399
<v Speaker 1>They were, you know, seeing parts of the country that

0:22:49.440 --> 0:22:53.480
<v Speaker 1>most of their school friends would never have seen and

0:22:53.520 --> 0:22:56.119
<v Speaker 1>having experiences that they would never have had. But it

0:22:56.119 --> 0:22:57.760
<v Speaker 1>does come at a cost. You know. It's a very

0:22:57.840 --> 0:23:03.760
<v Speaker 1>physically hard world, traveling by wagon almost exclusively, sleeping under wagons, camping,

0:23:04.040 --> 0:23:06.159
<v Speaker 1>and there's reports of babies being born in tents on

0:23:06.200 --> 0:23:08.720
<v Speaker 1>the road, all that kind of stuff. But I think

0:23:08.760 --> 0:23:11.680
<v Speaker 1>for a kid, you know, you're growing up with your cousins,

0:23:12.160 --> 0:23:15.680
<v Speaker 1>So Ellenor's cousins, so Mabel's brothers have got a couple

0:23:15.680 --> 0:23:18.399
<v Speaker 1>of children by that point, so you know there's a

0:23:18.520 --> 0:23:21.880
<v Speaker 1>kind of built in family unit and they're having fun.

0:23:21.920 --> 0:23:23.880
<v Speaker 1>You know, they get to do all this really interesting

0:23:23.960 --> 0:23:26.800
<v Speaker 1>stuff from a very young age. You know, children were

0:23:26.880 --> 0:23:28.960
<v Speaker 1>put on the stage and in the script in the

0:23:29.000 --> 0:23:30.920
<v Speaker 1>circus ring from three or four.

0:23:32.560 --> 0:23:36.440
<v Speaker 2>And we're Mabel and Henry actually breaking any laws by

0:23:36.760 --> 0:23:39.679
<v Speaker 2>putting Mabel's daughter on the stage in this way and

0:23:39.720 --> 0:23:41.879
<v Speaker 2>taking her on tour or was it more that this

0:23:42.000 --> 0:23:43.480
<v Speaker 2>was just something that was frowned upon.

0:23:44.200 --> 0:23:47.880
<v Speaker 1>Yeah, it's not illegal, but it's, as I said, it's

0:23:47.920 --> 0:23:51.679
<v Speaker 1>not considered to be entirely proper. There's always the whiff

0:23:51.720 --> 0:23:55.480
<v Speaker 1>of the disreptible to the traveling shows, particularly the smaller ones.

0:23:55.520 --> 0:23:57.440
<v Speaker 1>We're not talking about the big you know, the big

0:23:57.480 --> 0:24:00.600
<v Speaker 1>international circuses and the big outfits like Burdens and It's Geralds,

0:24:00.600 --> 0:24:03.760
<v Speaker 1>who are quite well, quite well respected, but these small

0:24:03.880 --> 0:24:07.920
<v Speaker 1>jobbing family shows, you know, they're really just kind of

0:24:08.160 --> 0:24:10.800
<v Speaker 1>at the very bottom of that scale. But yes, all

0:24:10.800 --> 0:24:14.120
<v Speaker 1>indications seem to suggest that the children enjoyed doing it.

0:24:14.440 --> 0:24:17.840
<v Speaker 1>They weren't really paid to do it, but you know,

0:24:17.920 --> 0:24:21.439
<v Speaker 1>they are having experiences that children would never have had normally,

0:24:21.480 --> 0:24:23.399
<v Speaker 1>and it becomes it becomes a way of life for them.

0:24:23.400 --> 0:24:25.200
<v Speaker 1>It's natural for them. All their family and friends are

0:24:25.200 --> 0:24:26.560
<v Speaker 1>doing it, So why would you want to sit down

0:24:26.600 --> 0:24:27.800
<v Speaker 1>in one place and go to school?

0:24:28.920 --> 0:24:32.159
<v Speaker 2>So true, So take us now to Melbourne. So this

0:24:32.240 --> 0:24:35.639
<v Speaker 2>is where we lose part of the timeline. I guess

0:24:35.640 --> 0:24:38.160
<v Speaker 2>we don't really know what happened for a period there.

0:24:38.520 --> 0:24:43.359
<v Speaker 1>No, no, This is one of the frustrations of doing

0:24:43.400 --> 0:24:47.000
<v Speaker 1>this sort of research. So without going into too much

0:24:47.040 --> 0:24:50.600
<v Speaker 1>detail and giving too much away, they moved to Melbourne

0:24:51.040 --> 0:24:55.080
<v Speaker 1>and it would appear that Mabel and Henry split. He

0:24:55.119 --> 0:24:57.440
<v Speaker 1>goes off to Western Australia to become a minor and

0:24:57.520 --> 0:25:01.639
<v Speaker 1>she is with her daughter, and her daughter then goes

0:25:01.680 --> 0:25:04.480
<v Speaker 1>to South Africa as part of a traveling show at

0:25:04.480 --> 0:25:07.439
<v Speaker 1>the height of the Boer War. This really blew my

0:25:07.480 --> 0:25:10.840
<v Speaker 1>mind when I found out about this. So your listener's

0:25:10.880 --> 0:25:14.040
<v Speaker 1>probably familiar with the Second Boer War, which was fought

0:25:14.080 --> 0:25:16.840
<v Speaker 1>from eighteen ninety nine to nineteen oh two, I think

0:25:16.880 --> 0:25:20.119
<v Speaker 1>from memory. So it's between the South African Boers and

0:25:20.160 --> 0:25:23.840
<v Speaker 1>the British authorities who want to secure rights to all

0:25:23.840 --> 0:25:25.919
<v Speaker 1>the gold that's coming out of the ground. And the

0:25:25.960 --> 0:25:28.800
<v Speaker 1>early ones about Diamonds in the eighteen seventies, and so

0:25:29.000 --> 0:25:32.240
<v Speaker 1>it's an active war zone in the northern parts of

0:25:32.960 --> 0:25:36.720
<v Speaker 1>the Southern African continent, and so the idea that you

0:25:36.720 --> 0:25:40.159
<v Speaker 1>would take a troop of children performing children to this

0:25:40.200 --> 0:25:43.600
<v Speaker 1>sort of environment seemed completely unhinged to me. But the

0:25:43.680 --> 0:25:45.520
<v Speaker 1>general feeling seems to have been that so long as

0:25:45.880 --> 0:25:49.400
<v Speaker 1>the performing theatricals kept to the southern parts, so kept

0:25:49.400 --> 0:25:52.439
<v Speaker 1>to the coastline, that they would be fine, although there

0:25:52.480 --> 0:25:55.600
<v Speaker 1>are certainly reports of theatrical troops having some quite hair

0:25:55.720 --> 0:26:00.480
<v Speaker 1>raising escapes from the fighting areas in the early nineteen one,

0:26:00.520 --> 0:26:04.800
<v Speaker 1>in nineteen oh two. So yeah, it's a completely bizarre

0:26:04.880 --> 0:26:07.399
<v Speaker 1>thing to do to take these little children, you know

0:26:07.440 --> 0:26:10.600
<v Speaker 1>that anything from seven or eight up to about thirteen

0:26:10.720 --> 0:26:13.560
<v Speaker 1>or fourteen, and they go to South Africa. And so

0:26:13.600 --> 0:26:15.879
<v Speaker 1>her daughter spends two years touring South Africa as a

0:26:15.880 --> 0:26:17.639
<v Speaker 1>performing theatrical.

0:26:17.680 --> 0:26:20.919
<v Speaker 2>And who were they performing for. They weren't performing for

0:26:21.200 --> 0:26:23.000
<v Speaker 2>soldiers on breaks or anything like that.

0:26:23.800 --> 0:26:28.200
<v Speaker 1>Yeah, so they do, they do do some performances for military,

0:26:28.600 --> 0:26:32.720
<v Speaker 1>but mostly it's just performing the same vaudeville traveling circuit.

0:26:33.119 --> 0:26:36.439
<v Speaker 1>So all of these, you know, all the anglophone colonies

0:26:36.800 --> 0:26:39.720
<v Speaker 1>are obsessed with live performance and they're desperate to get

0:26:39.960 --> 0:26:43.920
<v Speaker 1>performers from overseas because it's exciting and new and it's

0:26:43.960 --> 0:26:47.040
<v Speaker 1>all about, you know, keeping the market share interested. So

0:26:47.359 --> 0:26:49.760
<v Speaker 1>traveling troops from Australia to South Africa or you know,

0:26:49.800 --> 0:26:51.840
<v Speaker 1>British troops would go to South Africa, or they would

0:26:51.840 --> 0:26:55.200
<v Speaker 1>come to Australia. It's a very interconnected and very very

0:26:55.240 --> 0:26:59.159
<v Speaker 1>mobile world. And so yes, you would think that, you know,

0:26:59.240 --> 0:27:01.080
<v Speaker 1>a little kid that was born in Adelaide at the

0:27:01.080 --> 0:27:03.960
<v Speaker 1>destitute Asylum is not going to end up on the

0:27:03.960 --> 0:27:08.600
<v Speaker 1>stages of at least three continents, but she does. It's

0:27:08.640 --> 0:27:11.480
<v Speaker 1>a very very exciting story to have been able to uncover.

0:27:12.680 --> 0:27:15.040
<v Speaker 2>How did you and first come across this story?

0:27:15.480 --> 0:27:19.080
<v Speaker 1>So Mabel came to my attention when I was a

0:27:19.119 --> 0:27:22.560
<v Speaker 1>curator at the Migration Museum and in twenty fifteen we

0:27:22.560 --> 0:27:25.119
<v Speaker 1>were redoing the gallery. There's a permanent gallery at the

0:27:25.160 --> 0:27:27.479
<v Speaker 1>museum that talks about the history of the site. So,

0:27:27.560 --> 0:27:30.520
<v Speaker 1>as I mentioned, the two story building at Migration Museum

0:27:30.600 --> 0:27:33.200
<v Speaker 1>is the former lying in home and the whole courtyard

0:27:33.240 --> 0:27:36.400
<v Speaker 1>is all that's left off Adelaide's Destitute Asylum. So Adelaide's

0:27:36.400 --> 0:27:40.760
<v Speaker 1>Poorhouse's workhouse, and so we've always had a gallery that

0:27:40.800 --> 0:27:43.960
<v Speaker 1>tells that story. And in twenty fifteen I was one

0:27:43.960 --> 0:27:47.200
<v Speaker 1>of a team of three with my wonderful former colleague,

0:27:47.240 --> 0:27:50.520
<v Speaker 1>Nikky Sullivan and then director of Migration Museum who's now

0:27:50.560 --> 0:27:53.320
<v Speaker 1>Head of Collections, Mandy Paul, and we did the research

0:27:53.400 --> 0:27:56.439
<v Speaker 1>to revitalize and bring new stories into this gallery, and

0:27:56.480 --> 0:27:58.959
<v Speaker 1>Mabel was one of the stories that we found. So

0:27:59.040 --> 0:28:02.080
<v Speaker 1>Nicky and I were State records at Cavin looking through

0:28:02.119 --> 0:28:05.320
<v Speaker 1>the registers and we found that detail of the one

0:28:05.400 --> 0:28:09.800
<v Speaker 1>hundred and fifty pounds being paid to the State Children's Council,

0:28:09.840 --> 0:28:12.919
<v Speaker 1>and that really was what pequed our interest. It was

0:28:13.000 --> 0:28:15.280
<v Speaker 1>like Maybel kind of reached up out of the archive

0:28:15.320 --> 0:28:17.959
<v Speaker 1>and tugged on shold on our sleeve and said, you know,

0:28:18.200 --> 0:28:20.760
<v Speaker 1>there's something really interesting here if you dig, and so

0:28:20.840 --> 0:28:23.639
<v Speaker 1>we did. And so if you go to Migration Museum,

0:28:23.680 --> 0:28:25.880
<v Speaker 1>there are four story boxes in that gallery which tell

0:28:25.960 --> 0:28:29.119
<v Speaker 1>four different family stories from the asylum, and Maybel is

0:28:29.200 --> 0:28:31.800
<v Speaker 1>number three of four, and so we did some research.

0:28:31.880 --> 0:28:34.200
<v Speaker 1>We did know the research about her daughter being born

0:28:34.240 --> 0:28:36.639
<v Speaker 1>in the building and then her having to ask for

0:28:36.680 --> 0:28:39.960
<v Speaker 1>her back, so we knew her story up to eighteen

0:28:40.080 --> 0:28:43.120
<v Speaker 1>ninety nine, and something about it after we delivered the

0:28:43.120 --> 0:28:46.200
<v Speaker 1>gallery opened in twenty sixteen. Something about her story just

0:28:46.280 --> 0:28:48.480
<v Speaker 1>kind of stuck with me and I had to find

0:28:48.520 --> 0:28:50.840
<v Speaker 1>out what happened, because at that point we didn't know

0:28:50.960 --> 0:28:54.680
<v Speaker 1>anything about the theatrical performances, because Mabel had been very

0:28:54.680 --> 0:28:58.640
<v Speaker 1>successful about hiding that. We didn't know anything about South Africa.

0:28:58.760 --> 0:29:01.719
<v Speaker 1>We didn't know anything about the family circus. We had

0:29:01.760 --> 0:29:05.360
<v Speaker 1>been in touch with some of Mabel's brother's descendants who

0:29:05.440 --> 0:29:07.560
<v Speaker 1>told us a bit more about the circus stuff, but

0:29:07.600 --> 0:29:10.040
<v Speaker 1>they also didn't know a lot of this detail. They

0:29:10.040 --> 0:29:13.040
<v Speaker 1>didn't know what had happened to Mabel's daughter, They didn't

0:29:13.080 --> 0:29:16.960
<v Speaker 1>know about any of the performing aspects. So gradually I

0:29:17.080 --> 0:29:20.800
<v Speaker 1>just unpicked it. Over five years or so, she just

0:29:20.800 --> 0:29:24.560
<v Speaker 1>wouldn't leave me alone. She was very insistent that all

0:29:24.560 --> 0:29:25.480
<v Speaker 1>of this come to light.

0:29:27.680 --> 0:29:30.920
<v Speaker 2>We'll leave part one here and we'll return on Thursday

0:29:31.000 --> 0:29:34.560
<v Speaker 2>to hear about Mabel's thrilling life as a vaudeville performer,

0:29:35.000 --> 0:29:38.080
<v Speaker 2>the challenges she faced, and her lapse into a life

0:29:38.160 --> 0:29:41.600
<v Speaker 2>of crime. Thanks for listening. This has been in Black

0:29:41.600 --> 0:29:45.160
<v Speaker 2>and White, a podcast about some of Australia's Forgotten Characters,

0:29:45.680 --> 0:29:49.360
<v Speaker 2>written and hosted by me Jen Kelly, edited by Nina Young,

0:29:49.840 --> 0:29:52.760
<v Speaker 2>and produced by John Ti Burton. You can find all

0:29:52.800 --> 0:29:56.560
<v Speaker 2>the stories and photos associated with their episodes at Heraldsun

0:29:56.640 --> 0:30:01.040
<v Speaker 2>dot com dot au slash I be a Double. If

0:30:01.080 --> 0:30:03.200
<v Speaker 2>you've enjoyed this podcast, we'd love you to leave a

0:30:03.240 --> 0:30:07.520
<v Speaker 2>five star rating on Apple Podcasts. Even better, leave a review.

0:30:08.080 --> 0:30:11.040
<v Speaker 2>Any comments or questions please email me at in black

0:30:11.080 --> 0:30:15.520
<v Speaker 2>and white at Heroldsun dot com dot au. Any clarifications

0:30:15.600 --> 0:30:18.720
<v Speaker 2>or updates will appear in the show notes for each episode,

0:30:19.040 --> 0:30:21.440
<v Speaker 2>and to get notified when each new episode comes out,

0:30:21.680 --> 0:30:24.040
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