PE0060. PHYLLIS DARE, A Selection of her published recordings, incl. selections from The Beauty of Bath, The Belle of Mayfair, The Catch of the Season, The Arcadians, The Girl in the Train, Peggy, Tina, The Street Singer, Lido Lady, King's Rhapsody, etc. (England) Palaeophonics 83, recorded 1906-27.
"In 1909, Dare created the role of Eileen Cavanagh in the hit musical THE ARCADIANS at the Original Shaftesbury Theatre. This was an extraordinarily long-running musical, playing for 809 performances, and Dare stayed for the entire run. The musical marked the beginning of Dare's association with producer George Edwardes, and she went on to star in several more of his productions in the next three years, including THE GIRL IN THE TRAIN at the Vaudeville Theatre (1910, as Gonda van der Loo), PEGGY at the Gaiety Theatre (1911, as Peggy), THE QUAKER GIRL IN PARIS (1911, as Prudence) and THE SUNSHINE GIRL at the Gaiety and then on tour (1912-13, as Delia Dale). She left THE SUNSHINE GIRL in 1913 to join the cast of THE DANCING MISTRESS, as Nancy Joyce, at the Adelphi Theatre.
Dare began to develop a relationship with the composer Paul Rubens. He had written the music for THE SUNSHINE GIRL and THE DAIRYMAIDS, and they became acquainted. He would write the music for her next series of shows, including THE GIRL FROM UTAH at the Adelphi (1913, as Dora Manners), MISS HOOK OF HOLLAND at the Prince of Wales' (1914 revival, as Sally Hook) and TINA at the Adelphi (1915, as Tina). He also dedicated his most famous song, 'Love the Moon' to her. During the run of TINA, Dare became engaged to Rubens. Their engagement ended when Rubens became very ill with consumption. He died in 1917 at the age of 41.
Dare performed on stage rarely for the next few years, appearing in HANKY-PANKY at the Empire Theatre in 1917. She returned to the stage in 1919 as Lucienne Touquet in KISSING TIME at the Winter Garden and then played Princess Badr-al-budur in ALADDIN in 1920 at the Hippodrome, London. She continued to star in successful productions throughout the 1920s, including as Mariana in THE LADY OF THE ROSE at Daly's Theatre (1922), as Yvette in THE STREET SINGER (1924; 360 performances at the Lyric Theatre and on tour), and as Fay Blake in Rogers and Hart's LIDO LADY at the Gaiety Theatre (1926), in which she introduced the song 'Atlantic Blues'. She then turned to straight plays. Some of these included AREN'T WE ALL (1929) WORDS AND MUSIC (1932), and THE FUGITIVES (1936). Dare also appeared in a few films including THE ARGENTINE TANGO AND OTHER DANCES (1913), DR. WAKE'S PATIENT (1916), THE COMMON LAW (1923), CRIME ON THE HILL (1933), DEBT OF HONOUR (1936), MARIGOLD (1938) and GILDERSLEEVE ON BROADWAY (1943).
In 1940, for the first time in over four decades, Zena and Phyllis Dare shared the stage, in a tour of FULL HOUSE, in which Dare played Lola Leadenhall. In 1941-42, she was Juliet Maddock in OTHER PEOPLE'S HOUSES, and in 1946 she played the Marchioness of Mereston in LADY FREDERICK at the Savoy Theatre. In 1949, Dare opened as Marta the mistress in Ivor Novello's musical, KING'S RHAPSODY, again with her sister Zena. The show ran for two years and was Dare's last theatrical endeavour."
-Z. D. Akron
gA gentleman farmer with a love of Edwardian and early Twentieth Century music has created a home industry of preserving early Musical and Revue scores as recorded on 78 and cylinder, the latter of which he is certainly a specialist. It is an impressive list of shows that Dominic Combe has digitalised and issued on Compact Disc. Not only is it the recordings but the lovingly created books that attach.
Early theatre recordings abound in Great Britain, more so than in the United States where it took them some time to start recording original cast material. And so, many early scores are available to be heard. But what Dominic discovered when he started assembling these scores was that often latter day British 78 and cylinder record collectors turned their noses up on recordings of dance music or covers and ebest off or egemsf making them hard to find. And, it is those recordings which can often contain songs not otherwise recorded. He has built strong connections with other collectors willing to lend material to make each issue as complete as possible.
Modern equipment and an aptitude for perfection have helped Dominic eclean upf old 78 and cylinder records to deliver a sound quality that can be stunning. The booklets are produced with as much care by using original theatre programmes or magazines such as PLAY PICTORIAL and MUSIC FOR ALL so that the listener can get a good idea of how the show looked as well as to see the unique art work used to advertise the show back then.
Dominic has issued over fifty of these gems and still has titles either being completed or awaiting to be started on. The label is called PALAEOPHONICS.h
- y phayward, OVERTURES: The Bunnet-Muir Musical Theatre Archive Trust, 10 July, 2017