Solo Men
Wilkie Bard 1874 - 1944
One of Music Hall's greats who leaves us with a well remembered song and a mystery about his name.
The story of Wilkie Bard has an amount of mystery surrounding his name, or rather names attributed to him.
His birth name is quite straight forward but is readily mis-quoted, even by respected authors.
He was born in 19 March 1874 in Chorlton Cum Hardy, Lancashire, the son of William Herbert SMITH and Marie STETZER, and christened William August Smith. So reads his birth certificate.
There is, of course, the possibility of an original spelling mistake but I am assured that ‘August’ is a common German name so it is most unlikely that the birth certificate is in error. The errors will, I believe, lie with the other ‘sources’.
The mis-quotes or unsubstantiated assertions:
This Lancashire comedian-cum-singer, easily recognised by his stage get-up of curiously high forehead and spotted eyebrows, was born William Augustus Smith in Manchester. They Made Us Laugh by Geoff. J. Mellor
The 1981 ‘British Music-Hall 1840-1923’, a resource book, lists him as William Augustus Smith.
Haddon gives his ‘proper’ name as Gebard. (THE STORY OF THE MUSIC HALL. By Archie Haddon {1935})
No playbill is currently available that shows a Will Gebard or Will Gibbard and no date is given by those who chronicle the ‘change of name’ stories.
…at the age of twenty-one he began singing and clowning in the 'free and easies’ of his native city in his spare time. These venues were places like the Slip Inn, The Falstaff and Liston's Bar, the latter named after the famous Stockport comedian Harry Liston. In 1893 he finally secured a professional engagement as an 'extra turn' at Ted Garcia's Grand Theatre in Peter Street for £4 the week. Here he appeared as 'Will Gibbard', this being his mother's maiden name.
Two years later, he had reached London, appearing at Collins Music Hall on Islington Green. Here he did a coster study, titled 'My Little Nipper', but this was not really suitable for a Lancashire comedian.
They Made Us Laugh by Geoff. J. Mellor
"…to become a professional singer of coster ditties like " 'E Ain't the Bloke I Took Him For At All" and the still-remembered "Never Have a Lodger for a Pal." THE STORY OF THE MUSIC HALL. By Archie Haddon (1935)
An article attributed to Wilkie with regard to his first, rather dismal, professional appearance was published in the Era Annual of 1905.
Although mentioned frequently in the usual tomes, there is very little of real interest to read about him. Most entries recognise his skills but there is a dearth of anecdotes and almost nothing of his private life.
During his pantomime career it seems that Wilkie Bard appeared at Drury Lane either quite frequently, or twice.
Harry Randall speaks of their meetings or crossings with his pantomimes of 1902 and intimates that Wilkie may have been troublesome.
"Wilkie Bard had taken my place at the Lane whilst I was in Liverpool; but I gleaned there had been certain disagreements between the leading comedians, which naturally caused embarrassment to the management - I am afraid there are many comedians who want all the plums in the pudding without any thought of the other ingredients - I felt pleased to think I was returning to my beloved London again - Strange to say, Wilkie Bard and I crossed over, as it were, he going to the Shakespeare Theatre, Liverpool, and I to the Lane." (Harry Randall Old Time Comedian)
Did this mean that Wilkie Bard was the one with the ‘disagreement’? Randall doesn't say and when Randall appeared with Wilkie he makes no comment other than to record the fact:
"… We came to terms and, with only one week's rehearsal, we produced the Babes in the Wood. Associated with me were Wilkie Bard and Millie Lindon (now Lady Hulton) as principal boy. In this production I played Nurse" (Harry Randall Old Time Comedian)
"(Whilst in London) … Another meeting was with Frank Leo, a London song-writer, who provided the Bard with ‘Do You Know Any, Funny Stories?’ and the immortal ‘I Want to Sing in Opera,’ together with a novelty number ‘Popping In and Out.’
Back in Manchester, local impresario J. Pitt Hardacre heard of Wilkie's success, and immediately booked him for pantomime at his Gaiety Theatre. Here, for the 1906 season, Wilkie Bard played Widow Twankey in Aladdin with acclaim. But Bard really found fame when he landed the part of Idle Jack in pantomime at Drury Lane in 1908. From then he never looked back, his timing, coupled with a fruity voice, improved all the time. They Made Us Laugh by Geoff. J. Mellor
The Met by Bert Ross (in Call Boy) records him appearing there in 1906 and again in 1910, "… with his quaint drolleries:"
He was chosen to appear in the first Royal Command Performance of 1912: The writers have differing views on what he performed:
"Wilkie Bard was put down for "I Want to Sing in Opera", but for this he substituted "The Night Watchman", who minds the drainpipes and other people’s business in the funniest way possible. In the silent watches of the small hours he thinks out social problems, and his occupation fosters a natural bent for philosophic reflection." British Music Hall by Mander & Mitchinson
James Harding appears to have attended a different show:
At the Royal Command Performance he flounced on heavily bewigged, wearing a pinny and carrying a bucket of soapsuds. Kneeling down, he traced a circle on the stage with his wet cloth preliminary to cleaning the floor. Then suddenly, having risen again to his feet, he approached the footlights and delivered in a sweet contralto voice the waltz that had become his signature tune:
"I want to sing in opera, if I could have my choice, want to sing in opera, I've got that kind of voice,
Signor Caruso told me I ought to do so, So that's why I want to sing in opera, Sing-in-op-op-opera-a-a."
From George Roby and the Music Hall by James Harding
Geoff Mellor seems to have been to the same show as James:
"In 1912 he was one of the favoured ones who appeared in the very first Royal Command Performance at London's Palace Theatre. On this occasion he scored a great success with his ‘I Want to Sing in Opera' speciality". They Made Us Laugh by Geoff. J. Mellor
A newspaper report of the time says that he was not a success and a book which I have not seen, but have on good authority agrees. Peter Cotes in George Roby says that Wilkie sang The Nightwatchman but that he "signally failed to please"
At the party afterwards was Mrs. Wilkie Bard who’s name was Nellie Stratton ,she was a singer. Paul Gebhard.
At the height of his career he made several top line tours of America. Some of the articles concerning these are noted in ‘British Music-Hall 1840-1923’
[Tour begins] N.Y. Times, 9 Oct. 1919.
WB a fun maker.---N.Y. Tribune, 22 Oct. 1919.
"WB gets peculiar welcome on his debut here." N.Y. Tribune, Oct. 1921.
WB makes a hit.---N.Y. Times, 21 Oct. 1913.
During the week 22nd November 1917 he appeared at the Finsbury Park Empire, others on bill were Charles Austin, Whit Cunliffe, Marie Dainton, Ena Dayne, Perci Honri, Hetty King, Lily Morris, Lorna and Toots Pounds, Max Darewaski, Daly and Healy, Majorie Essex, Violet Essex, Mdle. Liane D’Eve, Wilson Hallette, Ella Retford, J.W.Rickaby, Ella Shields, Beth Tate and Tucker. Supplied by Colin Charman
What was he like? How did he perform?
"More comedy was offered by Wilkie Bard, a bald-headed loon with a black spot ornamenting each eyebrow. He, too, had a repertory of characters including a Turkish Bath attendant, a bookshop salesman, a night watchman and a park keeper. A favourite tongue-twister of his was 'She sells sea shells on the sea shore'. He was reported, also, to have invented the 'interrupted turn'. His finest creations were pantomime dames and a group of female impersonations that included both charwomen and Duchesses." From George Roby and the Music Hall by James Harding
In a tribute, Mr. Jesse Hewitt the manager of the Palace at Manchester said of him, "He was loved by thousands for his exaggerated make-up, his remarkably quick wit, and, above all, his songs. He could truthfully say at the end of his career covering over half a century, that he had never uttered an objectionable word on the stage." Paul Gebhard
"The art of WILKIE BARD is in these days a mature and crusted vintage to be savoured by connoisseurs; and old-timers like it best, for the reason that the old-time music hall scarcely ever had anything better. … Then he invented a greatly copied bit of stage spoof, the interrupted turn. And he revelled in getting his audiences tied up in tongue-twisting choruses like " She Sells Sea Shells by the Sea Shore." His famous old join-in chorus, " I Want to Sing in Opera " is still popular on the halls.
As a sketch artiste,' his fruity vein of humour has been hilariously exploited in burlesque studies of a washerwoman, a park-keeper, a faded prima donna consulting a beauty specialist, and a be-turbaned bath attendant lured by an attractive lady from the path of duty.
The dialogue of a Wilkie Bard sketch is invariably rich in amusing observation of human foibles, and his fun is all the more effective for being exceptionally quiet and unforseen. His native city, Manchester, may be reasonably proud of having produced in Wilkie Bard one of the most distinguished natural comedians that have ever graced the halls." THE STORY OF THE MUSIC HALL. By Archie Haddon (1935)
About this time Wilkie started specialising in tongue-twisting songs, such as She Sells Sea Shells, on the Sea Shore and The Leith Police Dismisseth Us. The Suffragette Movement gave rise to the idea of a song called 'Put Me on an Island where the Girls are Few', which was written for him by Will Letters. Another number Wilkie put over very well was 'Chrysanthemums', about a henpecked husband.
The Lancastrian was particularly good at character impersonations - policemen, watchmen, and railway, guards were only a few of his specialities, and he continued to make a superb Widow Twankey in pantomime.
Saving his money shrewdly, Wilkie Bard retired early, but was persuaded to make a comeback by Sir Oswald Stoll who put him in his famous Veterans of Variety show at the London Colosseum. And so, Wilkie showed the youngsters a thing or two, and worked happily to the end. They Made Us Laugh by Geoff. J. Mellor
An idea of his earning power:
…and was positively the very first 'pierrot’ to earn £100 a week. This fee was paid by Edwin Adeler (of Adeler and Sutton) when Wilkie was invited to tour the pierrot pitches of North Wales, Blackpool and the Isle of Man, as guest artiste.
Considered big money in the early years of the century, this payment was apparently well earned by Mr. Bard, for the critics unanimously reported: 'Worth every penny'. They Made Us Laugh by Geoff. J. Mellor
For the year 1907 there is an entry in the Marie Lloyd story.
"…Marie's evidence at the hearings was particularly interesting. It showed how her salary had risen over the years. In 1889, she had earned from playing one hall, £4 a week; in1896, £25; in 1900, £40; in 1903, £60. in 1907, £80. Marie was music-hall's top earner. By comparison, Little Tich commanded £70; Wilkie Bard £60 and George Robey £25."Marie Lloyd by Richard Anthony Baker
"… And the venture was a good one, for Wilkie in his prime commanded £300 a week." THE STORY OF THE MUSIC HALL. By Archie Haddon (1935)
"A tour of America in 1913 brought him £600 a week, but back in this country, he could command £250, which was really 'top money'." They Made Us Laugh by Geoff. J. Mellor
He can be seen on film in the two "shorts" both released in 1928 by British Sound Film Productions namely "The Nightwatchman" and "The Cleaner". Paul Gebhard 2000
There is an interesting story of how he got his stage name:
"He started as Will Gebard, his proper name. A parcel arrived at the theatre meant for Mr. Gebard, but mistakenly addressed to a mythical " Wilkie Bard". An acquaintance said to the rising hope, "That's the name you ought to take. Look at Fawn, Leno, Tate-only four letters each." So Will Gebard went out and Wilkie Bard came in." THE STORY OF THE MUSIC HALL. By Archie Haddon (1935)
Another version is offered:
His tour of the London halls was productive, in so much as he appeared on one occasion on the same bill as the great Bransby Williams, a Protean actor of repute. The result was that Will Gibbard became 'Wilkie Bard' and dear old Bransby gave the man from Moss Side a bald wig, at the same time demonstrating the art of Shakespearean make-up to go with his new stage name. They Made Us Laugh by Geoff. J. Mellor
Another interesting story that touches on Wilkie is concerned with the writing of Billy Merson’s "The Spaniard That Blighted My Life":
When engaged for Idle Jack in " Dick Whittington " at Brighton, Billy Merson looked round for a suitable duet for himself and the principal girl. First he fancied " I Want to Sing in Opera," but Wilkie Bard would not consent.
While playing at Warrington, Billy Merson was in the same bill as the brother of Beatrice Allen, who was to play Alice Fitzwarren. This seemed like fate."I talked to young Allen and told him I wanted something dashing and Spanish and semi-operatic for my duet with his sister. He said ‘ Well, why not write something yourself ? Next day I got the idea for The Spaniard.’ I wrote out the words, hummed over the melody to Andrew Allen, and he wrote it down with some harmonies attached."
After the pantomime, he changed it from a duet into a solo, and asked managements "for an extra £5 a week" before including it in his repertoire.Romance Of The Music Hall By Wilson Disher
There are three references to the use of Wilkie Bard as Card in Rhyming slang. I have never heard the expression and I assume that it only applies to EQUITY cards:
"...So warbled Wilkie Bard, the man who gave his stage name to the Actor's Card (in rhyming slang). They Made Us Laugh by Geoff. J. Mellor
In Roy Hudd’s Book of Anecdotes there is a mention of Wednesday matinees being filled with pro’s because they could always get in on their ‘Wilkie Bards’ – their Equity Cards.
Peter Honri in Working the Halls mentions ‘Getting in on the Wilkies’
Wilkie Bard died in 1944 at the age of 70 at "Glengarry", Trees Road, HUGHENDEN, Buckinghamshire. He suffered a coronary thrombosis and his niece D.L. Davey was present at his death.
He is buried in London's Highgate cemetery in grave no. 38229/16, also interred are his wife Ellen Smith (nee Stratton - stage name Nellie Stratton) and Esther Stratton (his mother-in-law).
Part of the inscription reads "In memory of my dear husband William A. Smith (Wilkie Bard) who fell asleep May 5th 1944 aged 70. Sleep peacefully dearest. Paul Gebhard
His songs: Kilgarriff lists some one hundred and six songs for his repertoire.