Showing posts with label R.R. Ryan. Show all posts
Showing posts with label R.R. Ryan. Show all posts

Saturday, July 19, 2025

R.R. Ryan - another primary source

 Another brief but interesting source of information about Rex Ryan/R.R. Ryan.  The 1939 England and Wales Register provides details about Rex Ryan and his wife, Anne.  Rex Ryan's occupation is given as 'writer (fiction)' - not surprising given that he'd written a succession of thrillers under the name R.R. Ryan and other pseudonymous names for Herbert Jenkins.  This indicates he'd given up acting and managing theatres by this time. The occupation of his wife, Anne, is given as 'unpaid domestic duties'.

The address on the book contract for R.R. Ryan's final novel, No Escape (1940), is the same as the residence given in the register - 80b Lansdowne Place, Hove. The contracts for his previous novels give the address 16 Granville Road. Electoral rolls and telephone directories indicate that the Ryans moved from Granville Road to Lansdowne Place in 1939. 



Friday, January 4, 2019

Guest Post: Boyd White on another "R.R. Ryan" Pseudonymous Novel

While visiting my friend Lloyd Currey this past fall, I noticed a copy of John Galton’s The Stars I Kneel To (Herbert Jenkins, 1939) resting amidst a shelf of uncatalogued books. The Stars I Kneel To is one of a number of pseudonymous novels written by Evelyn Grosvenor Bradley, best known for the lurid weird thrillers he wrote in the 1930s and 1940s as R. R. Ryan. I asked Lloyd if I could read The Stars I Kneel To in order to evaluate its content so that he could add the title to his database and feature the book in his upcoming email list for that week, which he happily allowed me to do.

There is nothing substantial written about The Stars I Kneel To anywhere of which I am aware. Conducting an online search for information about the novel only retrieves a brief description of the book as a “romance with typical Ryan theme of psychological torture,” a statement that could apply to nearly any of the books Bradley wrote. The most complete assessment readily available appears in the April 1939 issue of The Library World in a less-than-flattering anonymous review under “New Fiction”:

"A rather terrible story of a young genius, Kenneth, who is trained to be a barrister and becomes an actor. His stern brother goes into his dressing-room and beats him so mercilessly that he cannot act again and gradually deteriorates in character. One imagines that if Kenneth had time to tell his brother he was earning £50 a week instead of sitting still waiting for briefs, the story might have ended differently."

As The Library World review suggests, The Stars I Kneel To is a routine melodrama. The main character, Ken Richmond, is studying to be a lawyer at Oxford at the behest of his oldest brother Reade. Obsessed with restoring the family estate of Little Heights to its former glory, Reade views Ken’s future career as a lawyer as instrumental to securing the funds necessary for Reade to reclaim the family’s squandered property holdings. Ken, however, feels trapped by the path that has been chosen for him and quits law school to become an aspiring actor, a profession that better suits his artistic temperament. He discovers his soulmate in Nan Leslie, the daughter of Sir Nigel Leslie, a famous London gynecologist who is determined his daughter will not marry Ken. Spurred on by Ken, Nan rebels against her tyrannical father, and, with Ken’s assistance, they both become overnight sensations on the stage. Reade eventually confronts Ken and nearly beats his younger brother to death, damaging Ken’s face to the extent that he is unable to speak. Doctors fear that Ken may never recover mentally or emotionally from this incident, and when Ken returns to the stage, he has lost his acting ability.  After being tricked by Sir Leslie into taking nerve pills that make him appear completely drunk on stage, Ken later attempts to rob Sir Leslie and is arrested after he accidentally shoots a police inspector in the leg. The sensationalistic lurid details that characterize the Ryan thrillers appear in the final third of the novel after Ken is released from prison and falls in with Teresa Bowles, a prostitute who is a former patient of Sir Nigel’s suffering from an advanced case of syphilis. Teresa is prone to parading around in the nude during her attempts to lure Ken into bed after she falls in love with him as they navigate life on the streets in the seedier parts of London. The novel’s title is a quotation from Poe’s second “To Helen” poem (1848), which is addressed to Sarah Helen Whitman to whom Poe was briefly engaged: “They fill my soul with Beauty (which is Hope,) / And are far up in Heaven—the stars I kneel to / In the sad, silent watches of my night.” The “stars” to which Poe refers are Sarah’s eyes, and the novel’s title emphasizes Ken’s idolization of Nan, whom he nicknames “Star.”

Unlike the Ryan novels, The Stars I Kneel To is not a thriller, nor does it contain any fantastic or supernatural elements. It is essentially a work of psychological and social realism. The plot is straightforward, and overall, the novel is much more competently written than any of the Ryan books. While I have not been able to read any of the novels that Bradley wrote under the Cameron Carr pseudonym, they, too, are reportedly less fantastic than the Ryan novels and characterized by a greater depth of psychological insight. The speculation that Bradley employed his different pseudonyms for what he viewed as very different types of novels certainly seems to have some merit. I can easily imagine Bradley viewing Ryan’s The Subjugated Beast (1938) or Freak Museum (1938) as commercial hackwork and Cameron Carr’s Gilded Clay (1938) or Galton’s The Stars I Kneel To as his “serious” novels.

As such, The Stars I Kneel To provides an interesting contrast to the Ryan thrillers. Most noticeably, the novel’s protagonist is male, not female, and Bradley’s characteristic concerns with the cultural and social forces with which women must contend in a male-dominated society do not take center stage. Bradley’s focus is entirely on Ken’s struggle to define his own identity and career in order to free himself from his oppressive relationship with Reade, his older brother. Ken’s artistic and aesthetic temperament is also entirely at odds with the lives lead by all his brothers, who, like characters in a D. H. Lawrence novel, revel in hard physical labor in the country and in their lusty, sensual relationships with their wives. While Ken loves Nan, he is clearly not interested in sexual relations with her. Instead, he longs for a more spiritual connection, a melding of artistic souls not rooted in earthly physicality. Ken is alienated by the lives his brothers lead and by all of them essentially being “men’s men.” The efforts Ken later takes to avoid having sex with Teresa despite admittedly being somewhat aroused by her behavior are glaringly obvious.

Whether or not we are to read Ken as a repressed homosexual is a matter for conjecture as is the extent to which any autobiographical elements of Bradley’s own life have informed the development of Ken’s character or the plot of The Stars I Kneel To. Bradley was a theater manager, actor, and playwright, and his novel A New Face at the Door (Herbert Jenkins, 1937), written under the Cameron Carr pseudonym, focuses on the members of a repertory company in a small theater. At the very least, Bradley’s own theater experiences certainly shaped the subject matter of The Stars I Kneel To and A New Face at the Door.

The Stars I Kneel To is fairly mediocre, but then again so are the more well-known novels written under the R. R. Ryan pseudonym. Their primary points of interest lie in the aberrant psychology of their main characters, their frank treatments of sexuality and sexual violence, and their over-the top plot conceits that would make even Harry Stephen Keeler raise an eyebrow. Lacking the more macabre elements found in the Ryan thrillers, The Stars I Kneel To is far less interesting despite Bradley’s seeming ambitions to write a more serious work.

Boyd White

Wednesday, March 30, 2016

Rex Ryan, Midnight Love


Book collector and researcher extraordinaire, Andrew Parry, has found a "lost" Rex Ryan novel, Midnight Love, published by the Anglo-Eastern Publishing Co. in the mid-1920s.  The book is listed in Anglo-Eastern advertising, but a copy has not heretofore turned up.  A newspaper report of the mid-1920s indicated that Ryan had written "2 or 3 novels" around this time, but only Tyranny of Virtue, written under the pseudonym, Noel Despard, was known with any certainty.  In the 1930s Ryan began to publish thriller novels as R.R. Ryan.

While it's always dangerous to tell a book by its cover, the image of a young woman in an opium den appears to reflect the plots of Rex Ryan's alter ego, Dennis Clyde's early plays.  Andrew will provide a synopsis in the coming weeks which may tell us one way or the other.  Well done, Andrew, on a great find!

Also shown above is a Louise Heilgers novel published by the Anglo-Eastern Publishing Co. first published by Stephen Swift and Co. in 1912.

Saturday, January 9, 2016

William Nicholas Willis and the Anglo-Eastern Publishing Company

Just a quick note that John Arnold and I have an article out on William Nicholas Willis and the Anglo-Eastern Publishing Co in the latest issue of Script and Print, the journal of the Bibliographical Society of Australia and New Zealand.  The story of Willis and his publishing company is a remarkable one - quite bizarre - and reveals a previously unknown author who wrote under the name "Bree Narran".  The cult thriller writer, R.R. Ryan, wrote at least two books under the Anglo-Eastern imprint.  The article is available for purchase as a pdf here.

Wednesday, August 12, 2015

REX RYAN, THE BLACK TRIANGLE




I mentioned in a previous post that we can’t really understand the R.R. Ryan novels without understanding the milieu in which they were written: the popular provincial theatre of the day.  One would reasonably expect traces of Rex Ryan’s plays to be found in the series of excessive thrillers he wrote for Herbert Jenkins in the 1930s.  One of his plays, written in 1927 and licensed at the Hippodrome in Mexborough, was The Black Triangle.  We know it was written by Rex Ryan because he advertised it for sale along with other plays of his in the Stage Directory in 1929.  I acquired a copy of the play from the Lord Chamberlain’s archive at the British Library, and it makes entertaining if typically crude reading.

It is a crime thriller reminiscent of his later books with bizarre goings on and a plot that stretches the imagination.  The play is mostly set in a country house belonging to James Sullivan.  There is a crowded household consisting of Sullivan, his son, Colin, Sullivan’s sister, Mrs Temperley, and her two daughters, Estelle and Nadine, and a cousin, Carlyle.  On top of this, Sullivan and Nadine like to take in unfortunate types in the neighbourhood, including a blind and deaf cripple named Paul who acts more like an animal than a man (but who responds to Morse code being tapped on his arm!), and most recently, an escaped freak from a passing circus called the Lion-Faced Man who horrifies all who see him. 

There are various love interests happening, with Nadine at the centre of it all – she is courted by both Colin and Carlyle, whom she despises.  Paul and the Lion-Faced man don’t like each other and after a fierce fight the Lion-Faced man says that they knew each other in the circus.  James Sullivan then reveals that today is the 20th anniversary of his escape from the clutches of a Chinese secret organisation called the Brotherhood of Black Triangle, controlled by arch-criminal Soo Ki.  Evidently, when Sullivan was in China 20 years earlier he fell in love with a beautiful Chines woman who was betrothed to Soo Ki – when Soo Ki found out about the affair Sullivan was only able to escape death by joining the Black Triangle.  He obtained government protection and managed to escape, but Sullivan has been expecting retribution ever since.

It quickly arrives with the appearance of a black triangle painted on a canvas that Colin, a budding artist, was about to use.  And shortly afterwards THE TERROR (in upper case, as is THE INEXPLICABLE in Echo of a Curse) appears at the window during a violent storm: “THE TERROR appears at the window, clad in black, with a black veil falling over his face on which is a death’s head.  On his breast and on a background of white is a black triangle.  His hands are the hands of a skeleton, and the fingers end in terrible claws.  The veil rises, apparently by no agency of his own, and a ghastly Chinese face is seen.  He fixes his huge eyes on Sullivan and they never waver in their gaze.”



Sullivan is murdered and Colin makes the awful discovery of his father’s head in a trunk with a black triangle painted on his forehead.  The police are called in and a bumbling investigation ensues until Kit Temple, a Melbourne detective investigating the Brotherhood of the Black Triangle, arrives.

Nadine is kidnapped and there’s a nice scene where she apparently wakes up in an underground laboratory in Marsh Retreat strapped to a slab with a huge vat of acid nearby: “Above her is a dull green light, which just reveals her.  At the back hang huge black curtains.  Otherwise the place is rough stone, with a door L.C. at back.  After the curtain has been up a little, the light above Nadine goes out. An illuminated scull (sic), and the upper structure of a skeleton is seen, with arms extended.  It is about 6 feet above the floor, but slowly descends and moves back, then forward to Nadine.  She screams.  The face fades. Scream after scream is heard…”


Sadly, the skeleton turns out to be dream, though the underground laboratory and vat of acid are real – no doubt an excuse to use a prized prop.  A black, hooded figure appears and orders Nadine to yield her body to him: “When I have done with that the devil can have your soul.  Strip off those clothes.  Surrender to me, and then you shall go in peace.”

Feisty Nadine declares, “I choose the vat rather than you.”  However, The Figure won’t take no for an answer: “The figure springs upon her and tears off a large portion of her dress.  A tremendous fight ensues, in which her clothes are torn to rags.  She fights the figure like a man.  They wrestle, roll over and over. But he gets her.  Raises her in his arms.”

THE TERROR arrives in the nick of time and forces the Figure into the vat of acid.  He then picks up Nadine and races off with her just as Colin and the others arrive.  Colin sees that there’s something in the vat: “Besides the vat are two huge pincers.  Silently Temple takes them up and hands one to Colin indicating their use.  Together from the vat they raise a complete skeleton.”  So the prized skeleton prop gets a reprise.  Needless to say the Figure turns out to be Carlyle.

After more shenanigans, Nadine is rescued and THE TERROR is revealed to be Paul, the deaf and blind cripple, who is in fact Soo Ki, the dreaded leader of the Black Triangle, and The Lion-Faced Man turns out to be Kit Temple in disguise!  What’s more, when THE TERROR’s identity is revealed he throws himself into the vat of acid rather than face justice.

The play was cleared by the Lord Chamberlain’s office, though with some provisos: according to Nicholson’s Censorship of British Drama: “In 1927 [the Lord Chamberlain, the Earl of] Cromer reluctantly licensed a touring melodrama on condition that “the lion-faced man must not be made too monstrous or like an animal,” that his fight with the blind mute “must not be too realistic”, and that “the appearance of the ‘terror’ as described on page 11 must be modified.”  Typically he also attempted to absolve himself from possible criticism by making the manager responsible for ensuring that it must not be staged in such a way as to cause offence to the audience.”  You can still see the pencil marks on the passages in the typescript that the Lord Chamberlain's Office had problems with.




There are several parallels with the R.R. Ryan novels - freaks (though in this case they are disguised men) with animal characteristics and named accordingly,  vats of acid, nefarious laboratories, Morse code, are all in Freak Museum, while using capitals to emphasize the name of a creature was used in Echo of a Curse.

The play was the subject of an article in the Sheffield Independent on 13 October 1927, titled "Too Much Blood: Super-Thriller Banned."  

"'The Black Triangle,' presented as the most thrilling of all thrillers, which was to have been presented by the Imperial Players in the Mexborough Hippodrome to-night, to-morrow and on Saturday, has been banned by the censor because it is too thrilling.

"Mr Rex Ryan, who owns the company, has received a wire from the censor forbidding the play to be produced in its current form.

"'I suppose it is the realities to which objection is made,' he said to the 'Sheffield Independent.'  "'The Black Triangle', the name of the author of which I cannot divulge, is a super-thriller.'

"There are ghosts, a deaf mute, two murders, a hanging, a head showing apart from its body, an iron face and plenty of blood and tears.  In addition to making ones hair stand on end it is mysterious.

"'The censor is a new man and I suppose his pet aversion is blood.  The old censor was concerned more about bare legs, but this one won't allow a hanging.  The play is not banned altogether, and when the censor has done we shall be able to produce it in its revised form.'"



Sunday, July 13, 2014

Who Wrote the R.R. Ryan Novels?

Someone recently asked me to draw together the various Wormwoodiana posts on Rex Ryan to explain why I believe he wrote the R.R. Ryan novels.  This struck as a useful thing to do, especially now now that Ramble House continues to issue the books as though they were written by Rex Ryan's daughter, Denice Bradley-Ryan.

When I first became interested in the identity of R.R. Ryan I thought like most people that the name was probably a pseudonym.  Nevertheless I went through the motions of looking through the birth/marriage/death indices for Great Britain looking for a Ryan whose first name started with “R.”  I checked the indices from 1940 – the year the last book was published – into the 1950s.  There were several candidates, including a few servicemen who died during the war (eg a few Richard Ryans, Robert Ryans etc), which would explain why no R.R. Ryan novels were published after 1940.   One of the possible candidates was a Rex Ryan, who had died at Hove in 1950.

When Random House finally allowed access to the R.R. Ryan file, the address on the contracts led me to the same Rex Ryan who had died in 1950.  All of the books are contracted to R.R. Ryan of 16 Granville Road, Hove, Sussex, except No Escape, Ryan’s last novel, which is addressed to 80B Lansdowne Place, Hove, Sussex.  Electoral rolls and phone directories show that Rex Ryan and his wife, Anne, had moved from 16 Granville Road to 80B Landsowne Place in 1939.  Rex Ryan’s death certificate revealed that he was a “retired theatrical manager and author”:

           


So, the primary documents point to Rex Ryan as the author of the books.  "R.R. Ryan" is not a pseudonym at all - seven of the Herbert Jenkins books were written under his own name (the exceptions being three books written under the name Cameron Carr, and one under the name John Galton).  Why the two pseudonyms?  R.R. Ryan was a prolific author – eleven novels were published in just five years – and the publisher may have felt it prudent to break up the torrent of R.R. Ryan titles so as not to flood the market.

There are two types of evidence used to establish an author’s identity – external documentary evidence and internal textual evidence.  “Internal,” as Altick and Fenstermaker observe in The Art of Literary Research, “is the more slippery.”  My view is that the documentary evidence is enough to prove Rex Ryan’s authorship.  Nevertheless, a powerful case can also be made for Rex Ryan on internal evidence. 

The biographical information that has emerged about Rex Ryan has been compelling in the context of the R.R. Ryan novels and shows the development of the writer – from an unusual and eccentric childhood in a large house replete with homemade theatre, a “Bluebeard’s Chamber,” and hidden rooms, plus the ignominy of his father going to prison; to his professional work in the theatre as actor, manager, playwright and novelist; and his unusual domestic life, constant travelling with his repertory companies, untimely pregnancies with children placed in foster homes.  The evidence shows that in the 1910s and early 1920s he wrote plays, many in collaboration with his partner, Annie Howard, and from the mid-1920s he wrote novels for the Anglo-Eastern Publishing Co.

Let’s have a look at some of the characteristics of the R.R. Ryan novels.

The theatre - even before I was aware of the existence of Rex Ryan it was clear that the author of the novels had a background in the theatre.  The protagonist in Devil’s Shelter is a London theatre actress.  The villain in The Right to Kill is a budding actor.  Cameron Carr’s A New face at the Door is set in a boarding-house (which Rex Ryan was familiar with) and the characters are members of a repertory company in a provincial theatre. The use of stage expressions and words are also suggestive.  In Echo of a Curse for example: ‘His head was bare, revealing a tough looking thatch, which was almost too course for human hair and resembled nothing so much as what is known in theatrical circles as a scratch wig.’  Similarly, slang such as “soger” for soldier, and expressions such as “we’re in, Meredith”, which derives from a music hall sketch called “The Bailiff”, first produced in 1907, indicate familiarity with popular theatre.  The melodramatic elements in the novels, which has led some modern critics to believe that Ryan was a woman, also reflect a background in theatre: ‘Mary, a bruise on her forehead, stood, in an unconscious attitude of crucifixion, back against the mantelpiece, her arms extended.’  This could almost be stage direction.

Dwayne Olson’s introduction to the Midnight House edition of Echo of a Curse is the best and most comprehensive essay on the R.R. Ryan novels, and he identifies common themes and interests across the novels: 

The moral angle – Herbert Jenkins billed The Right to Kill as a “profound study” of whether it was morally defensible to kill a person in certain circumstances, in this case where a woman’s virtue is at stake.  A similar theme is explored in Death of a Sadist and No Escape

Other R.R. Ryan novels have professed "serious" themes.  Consider the following contemporary review of The Subjugated Beast that appeared in the Aberdeen Journal in January 1938: “Those who read Mr Ryan’s “Devil’s Shelter” will find in this book similar elements, and if you liked the earlier book you will enjoy this one much more.  To Many, however, the thrill element is lost in the scientific and philosophic sidelights which tend to slow up the pace at which the grotesque plot should move to inspire unreservedly “the creeps.” Reading this book is like being drawn up in a train at every wayside station, when a metropolitan terminus is the destination.  There is much heaviness in the telling which should be got rid of.”

Other novels like Gilded Clay deal with moral dilemmas around abortion and unwanted pregnancy, and the hypocrisy of self-righteous men and women who judge “fallen” women who have lost their virtue through events they cannot control.  Jenkins' blurb for Gilded Clay says: "This is an important book: not only because it is a good story well told, but also because it deals with certain serious social problems in a most graphic and telling manner."

This moral content – often referred to in advertising material and reviews - is also a feature of many of his plays:

            


The Newcastle Daily Journal wrote of his play, “Slaves of Vice”, in February 1914: “This piece has been written with a purpose, for it exposes some of the evils of the white slave traffic.”

The moral angle is also explicit in much of the output of the Anglo-Eastern Publishing Co, which Rex Ryan wrote for – the exposés of the white slave trade, the difficulties faced by poor, young woman placed in difficult circumstances.  Rex Ryan’s novel, The Tyranny of Virtue, written under the name Noel Despard, is a prime example of this, and even has an author’s preface where he sets out his moral theme at some length.

The sadism of Ryan’s villains – R.R. Ryan novels are noted by modern critics for their sadistic villains and descriptions of depravities.  We see something of this already in his play The Secret Mother (1920): the censors “insisted on removing as ‘an unnecessary horror’ the visual evidence of a character having been flogged, and demanded ‘a written undertaking that the towel and shoulders marked with red will be omitted.” 

Madness – as with sadism, we also find madness in his plays: Ambrose in The Hooded Death has a split personality as a result of a head injury, leading a pious life on the one hand, and a life as the Hooded Death, desiring the death of his mother and sister, on the other - we see similar characters in Cameron Carr's The Other and Echo of a Curse.  Mad scientists, homicidal maniacs, demented wives, husbands or children were staples of the popular theatre of the day and, certainly, the R.R. Ryan novels can only be fully understood in the context of the popular theatre of the 1920s and ‘30s.

Black humour – in a couple of places Dwayne Olson emphasizes Ryan’s use of black humour.  Contemporary reviews of his plays also emphasize this aspect of his work.

Untimely pregnancy – untimely pregnancy often out of wedlock is another staple of R.R. Ryan’s novels, and this is also a feature of a number of his plays.  Rex Ryan and Anne Howard of course had first-hand experience of this and of the guilt and personal difficulties that arise as a consequence.

Difficult marital relationships – again, Rex Ryan may well have had first-hand experience of this with the break-up of his second marriage.  In 1924 the successful acting and writing pair Dennis Clyde and Annette Howard suddenly changed their names to Rex Ryan and Pauline Duke and their profile dropped markedly.  It could well be that Rex Ryan’s second wife had caught up with them and they felt it prudent to change their identities. 

Denice Bradley-Ryan - Ramble House has been reprinting the R.R. Ryan novels in recent times with introductions by John Pelan, who follows David Medhurst’s lead in asserting that Rex Ryan’s daughter, Denice Bradley-Ryan, wrote the novels published by Herbert Jenkins.  David Medhurst is the son of Denice Bradley-Ryan, and I've recently learnt that he is also now the R.R. Ryan estate holder. 

As far as I can make out no documentary evidence has ever been forthcoming linking Denice Bradley-Ryan to the novels R.R. Ryan, however David Medhurst says that his mother told him that she wrote more than the four Kay Seaton novels published between 1946-49, and that the style of the Herbert Jenkins novels is hers.  

This seems a curious position to take.  If Denice Bradley-Ryan wrote the R.R. Ryan novels why, when casting around for a pseudonym, would she choose one that so closely reflected her father’s name?
Whoever wrote the novels for publisher Herbert Jenkins was a prolific novelist – eleven books were published in four years.  And yet here is an article on Denice Bradley-Ryan (kindly sent to me by David Medhurst a few years ago) in The NAAFI News for Christmas 1949:




“If you have read “Phantom Fear” or “Tyranny Within” or “Pawns of Destiny,” by Kay Seaton, you have been entertained by a Naafi girl. “Kay Seaton” is the pen [name of] Miss Denice Bradley-Ryan, who works […] in H.Q. Staff Branch on BAOR, and writes novels in her hostel in the evenings. [Only her] closest friends knew her secret. She [writes the] books in longhand and sends the manuscript to her father in Hove, who has them [typed and] sent to the publishers. She is now working on a fourth novel, drawing on material […] BAOR.” Italics mine.

The article speaks for itself.

Friday, May 30, 2014

Rex Ryan and Dennis Clyde

In an earlier post on Rex Ryan I traced some of his history as an actor and playwright from 1925 until 1930 with his wife, Annie Howard, who used the stage name Pauline Duke.  Elspeth Caton, their granddaughter, recently told me in an email that he also used the stage name Dennis Clyde and that he was a partner in a theatre company called “Kimberley & Clyde.”  Another search of The Stage Archive reveals that he used the name Dennis Clyde from about 1907 to 1924, and that Kimberley & Clyde was in fact a repertory company. 

Dennis Clyde is listed in the 1911 census and it seems clear from the entry that he is Rex Ryan.  He is an actor, born in Liverpool around 1881 and has been married for less than twelve months to Nita Clyde, also an actor.  Both are living in a boarding house in Brixton with other actors.



The marriage is confirmed by a notice in The Stage dated 12 Jan 1911: “Dennis Clyde & Nita Imeson thanks all their friends who sent congratulations and handsome presents on the occasion of their marriage; also compliments of the season.”


'Nita Imeson' was almost certainly the stage name of Elizabeth Hornsby, as we know they were married on 21 December 1910, and had a son, Peter.  

The first appearance of Dennis Clyde that I've found is in August 1906 (playing the villain in "The Rich and the Poor of London"), four years after his father was found guilty of company fraud and sent to prison for 18 months.  On 23 May 1907 there is an advertisement for “Mr and Mrs Dennis Clyde (Miss Violet Lesborough)”, which indicates that Rex Ryan was married at this time to Violet Lesborough (it seems likely this was the stage name of Rex Ryan's wife, Florence Bailey, who died shortly after the birth of their son, Lancelot, in 1909; certainly the name 'Violet Lesborough' does not appear in either the 1901 or 1911 census). 



Dennis Clyde and Nita Imeson were the billed stars of Almost His Bride and A Woman’s Passion, which may have been written by Clyde.  The marriage didn’t last long.  By July 1913 he was advertising his own plays – in this case, Slaves of Vice - and acting in them with Annette Howard, who I take to be Annie Howard, his partner for the rest of his life.  From that time Clyde and Howard were the principals in his plays – in 1914 these included The Sorrows of a Nun and Should Girls Marry Young, popular melodramas that were typical of the period.  Either from the beginning of their relationship or shortly afterwards, Dennis Clyde and Annette Howard collaborated on writing plays, and they had significant successes, including Anna of the Night Club.


   


Advertisements claimed that they collaborated on twenty five plays in a variety of genres, including titles that reflect the themes and titles of the Anglo-Eastern Publishing Co, who we know Rex Ryan wrote for, such as The White Slave’s Wedding, The Painted Woman, Forbidden Love and Should Girls Marry Young? 


Digitised copies of The Stage Yearbook are available online up to 1919, and a check of these reveals that some Clyde & Howard plays made the Plays of the Year list: in 1914, Slaves of Vice by Dennis Clyde, in 1915, What Every Woman Wants by Dennis Clyde, and in 1917, Anna of the Night Club and The Temptations of a Lonely Wife by Dennis Clyde and Annette Howard.

Other successes were Tommy’s Best Pal (1919):



The Woman and the Beast:



Fear!
:




Another interesting collaboration between the two was The Hooded Death, here is a contemporary review:



"The Hooded Death"
On Friday, September 16, 1921, was produced at the Royal, Wolverhampton, a drama in three scenes, by Dennis Clyde and Annette Howard, entitled:
“The Hooded Death”
Ambrose Richmond…Mr Dennis Clyde
John Hanna….Mr Paul Ash
Lemuel Richmond…Mr Alan Ward
Sam Bristol….Mr Morris Maud
Elvira Bristol….Mis Olga Jefferson
Faith Richmond….Miss Margaret English
Rose Paline….Miss Mabel Stacey
Marissa Richmond…Miss Annette Howard
Mr Dennis Clyde and Miss Annette Howard’s latest production enjoyed a capital reception in the Black Country metropolis on Friday.  Their repertory company have occupied the Royal boards for a fortnight.  The piece is not really so eerie or weird as the title suggests, and the story is soon told.  Marissa Richmond is the mother of grown-up children, Ambrose and Faith.  The former is a priest in a monastery in Cornwall, in the vicinity of which is his parent’s home.  Marissa’s husband, Lemuel, is and has been for a long period a selfish man about town and fond of paying too much attention to the opposite sex.  In fact, in the opening scene he is guilty of love-making with Rose Paline, a guest of the Richmonds.  The conversation is mainly about a spectre that has repeatedly appeared in the district and become known as “the hooded death”. Visitors are announced in the persons of a local fisherman, Sam Bristol, a man with a strong Scottish accent, and his stepdaughter Elvira. Bristol gives vent to his feelings regarding “the hooded death,” and implores his hearers to leave the district.  The Bristols go home, and the others retire for the night, Richmond, senr., meanwhile arranging to meet Rose later. Rose returns, and is surprised to see one whom she believes to be Ambrose enter by the window in his monastic garb, but with his head covered. Rose realises that she is found out, whereupon the nocturnal visitor raises the hood, revealing a white skull. Rose dies from fright. Ambrose enters, and, finding the body, awakens the household. Richmond senior admits his duplicity, and holds himself responsible for Rose’s death. Hereabouts Mrs Richmond acquaints her daughter and prospective son-in-law, John Hannan, a medical practitioner, with something of her own past life. It appears that she also had a second son, but by her own interference with nature he was born to be a curse, and at her own request was taken away whilst an infant by Sam Bristol. She implores Faith and John to do the right thing should they have children, which they promise to do. Elvira warns them again of “the hooded death,” remarking that when it calls in silver tones “Come to me,” none can resist it. Faith and John are last to retire, the former insisting on remaining downstairs. John departs, ostensibly for the night, when Faith hears the fatal call and leaves by the window. John returns to find her missing, and the household is again awakened. Eventually John decides upon tracing her whereabouts, armed with a revolver, but Mrs Richmond objects, instructing her husband and son to detain him by force whilst she searches for her daughter. Faith is next seen bound hand and foot in a house amongst the rocks, calling for help. John appears first and releases her, but an ankle injury prevents her moving. Mrs Richmond next arrives, and John goes to find help. Mrs Richmond discovers the head and skull previously mentioned. Later Ambrose enters, but not as the loveable son. He reproaches his mother with her past sin, and demands that she shoot him, thereby saving his sister, whom he intends to kill. It transpires that long ago Ambrose suffered an injury to the head, since when he has led a double life, acting the good Samaritan according to his calling, and yet desirous of his mother’s and sister’s death. Elvira has been mainly responsible for the latter, blackmailing Ambrose by telling him of his mother’s sin, but eventually admitting that the second son died in infancy, and did not now exist, as was thought by the Richmonds. Mrs Richmond refuses to shoot her son, but threatens to turm the weapon on herself.  With the return of John there is reconciliation.

Despite their change of programme nightly, the company were letter-perfect in their parts, and everything pointed to careful and skilled rehearsals. The chief acting honours fell to Miss Annette Howard and Mr Dennis Clyde, the former being pathetic as Mrs Richmond, the latter giving a capital delineation of the son, Ambrose. As John, Mr Paul Ash acquitted himself creditably.  Miss Olga Jefferson was pleasing in the difficult role of Elvia, and Miss Margaret English found favour as Faith.  Mr Alan Ward was well placed as Lemuel, and the little required of Mr Morris Maud as Sam Bristol and Miss Mabel Stacey as Rose was well done.

The play also seems to have been known as The Hooded Terror:



Steve Nicholson’s excellent Censorship of British Drama 1900-1968 mentions The Hooded Death in a chapter on Horror; the Comptroller described it as “three acts of horror and gloom” and “a farrago of rubbish,” and went on to say “the horror is too silly to frighten educated people but it is a question if an average audience should be exposed to it” and observed that “the growing taste for horrors needs discouragement.”  Another Clyde/Howard play mentioned by Nicholson is The Secret Mother (1920) which was done for a touch of sadism, a feature of the R.R. Ryan novels: the censors ‘insisted on removing as ‘an unnecessary horror’ the visual evidence of a character having been flogged, and demanded ‘a written undertaking that the towel and shoulders marked with red will be omitted.’

It's also apparent that the popular theatre of the time influenced the excessive horrors of the R.R. Ryan novels.  Nicholson describes a play call The Horror, which was licensed for the county theatre, St Albans, in August 1928 (author unknown): 'a play centring on a creature which is half man and half bird, and which is the resulting offspring of a woman who has been raped by vultures.  The monster, Veldt, has been kept in a cage in his house by Sir Gordon, whose daughter rescued the woman who gave birth to it; however, after declaring its love for a young woman in the house, the creature commits a series of violent attacks on the males whom it identifies as its rivals.'  Bizarre stuff.  

At some point Dennis Clyde partnered with the playwright F.G. Kimberley to form the Kimberley & Clyde Repertory Co. that travelled around the country putting on plays written by Kimberley and by Clyde & Howard with the latter as the principal actors.






The company evidently continued to perform Kimberley & Clyde plays up to 1924, although a notice in the London Gazette says it was wound up by mutual consent in 1922.

In 1924 the names Dennis Clyde and Annette Howard cease to appear in The Stage and in 1925 Rex Ryan and Pauline Duke start to appear.  I'm not sure what precipitated this, but it is conceivable that Elizabeth Hornsby had tracked him down seeking child support. What is clear from the notices in The Stage is that Dennis Clyde and Annette Howard were constantly travelling around the country performing and staying for short periods in different towns and cities where he would often manage local theatres.

Here is an image of Olga Jefferson, one of the main actors in the Kimberley and Jefferson repertory company:


Thursday, May 1, 2014

The Nouveau Riche of Ripponden - a glimpse into the early life of Rex Ryan

The contemporary newspaper reports shown here relate to Walter Arnold Grosvenor Bradley, the father of Evelyn Bradley, who later adopted the stage name Rex Ryan and wrote a series of bizarre thriller novels in the 1930s under the byline R.R. Ryan.  Walter Bradley had been arrested for company fraud and was to spend some time in prison.  The reports provide some curious insights into the early life of Rex Ryan and the actor, playwright and writer he was to become.

The Nouveau Riche of Ripponden (The Yorkshire Post, 23 October 1901)

We do not know why the loss of a princely and pious benefactor is not bewailed at Ripponden; for Mr. Walter Arnold Bradley, who last week sold up his establishment and does not contemplate residing there again, seems entitled to the regrets of its inhabitants. They have known him for five years, have found him open-handed beyond all experience, have admired the usage of family prayers in a twenty roomed villa, the softness of disposition in a man who drove a pair of match bays and chartered saloon carriages, and have elected him people's warden. Mr. Bradley was as liberal as Monte Christo, and innocent of revengeful purposes. If not a selfish impulse of regret, then consternation and sympathy, would seem to be emotions proper to the spectacle of his arrest under a charge of vulgar fraud which has not been proved. The arrest, however, is regarded as rounding off a mystery. Mr. Bradley did not tell the astonished villages where he came from. They feel that they accepted him on trust, and therefore on probation. There is a disposition to regard this disastrous close as, natural, perhaps fitting; and it would instruct a story-writer given to the study of social comedy to be upon the scene.

Nothing inconsistent with Mr. Bradley's innocence of the charge is to be heard in all this gossip, and the true interest of it is merely picturesque. He came from nobody knew where to the little place five years ago, took Ryburn House and furnished it palatially, and told nobody his business. He may be supposed to have felt that he owed nobody an explanation. It was not as if he meant to hide his light under a bushel; Mr. Bradley lived from the first in the public eye--constituted himself, indeed, a sort of Ripponden windfall. There was just a spice of ostentation in it, for he made it a point of etiquette that letters should not be addressed to Mr. W. A. Bradley, but to W. A. Grosvenor Bradley. The name “Grosvenor” was one in which he took a certain family pride, it seemed; he had acquired it by some remote but honourable connection with a well-known aristocratic family. Otherwise Mr. Bradley's manners were exemplary. He gave to troublesome people on several occasions the soft answer which turneth away wrath—and envious disesteem. He was a regular worshipper at Ripponden Church, a generous donor to its funds, and a warm admirer of Evangelical doctrine and methods. It appeared that his costly taste an matters, appertaining to domestic art had not perverted a sturdy Protestantism; he had not, and never could have, the least sort of sympathy with ecclesiastical high ritual. The family prayers at Ryburn edified a large establishment, including a coachman, a groom, gardeners, and a liberal complement of female servants. It was reported that he led their devotions with unusual fervour. He wished his coachman and groom to be at liberty on Sundays to attend a place of worship, and gave a weekly rest to his pair of bays. That he should not escape calumny was inevitable. Village gossip made much of the fact that, his servants never stayed long, and the servants, or some of them, may be supposed to have talked resentfully. There were quarters in which opinion presently went against him, and where it was conjectured shrewdly that Mr. Bradley was either a pawnbroker or a money lender. Bet all these detractors could learn about the source of his apparently boundless wealth was that he did business in Manchester.


 Ryburn House, Ripponden

“Light come, light go," was a proverb quoted against him with headshakings; for he tipped the railway porters  handsomely, tipped any man who did him service and would take his money, tipped the disaffected servants most of all—with an occasional bonus of a sovereign added to their monthly wages, or of half-a-sovereign supplementing a visitor's vails. His visitors themselves were royally entertained. It was for their comfort and exclusiveness, not his own, that he sometimes nut a saloon carriage. He made no close inquiry as to the merits of "deserving objects," but was to every one alike a cheerful giver.  Is it, or is it not, creditable to the charity and common sense of Ripponden that, by way augment the mystery of a liberal man’s resourcefulness, a story went the rounds that he had one secret room at Ryburn, which none but he was allowed to enter, and that, if the contents and what he did there could be known, the whole truth about Mr Grosvenor Bradley would be manifest?  Gossip named the room Bluebeard’s Chamber. It seems to have been a writing room – simply furnished with a desk, a couch, a nest of pigeon holes, a few bentwood chairs, and a screen to ward the draughts off.

But Mr Bradley’s reticence was taken as a challenge. In a Yorkshire village reticence is a mistake. There were bets about him in the public-houses, and more than once he was followed to Manchester. The mystery remained a mystery, nevertheless, until the other day.

For some time past Mr Bradley had reduced his expenditure without abating it. He kept fewer servants. He was not as often seen at church either; and business at Manchester engaged him rather more closely. Finally, like a bombshell, came the announcement: “Mr Thomas Arnold, instructed by a gentleman who is leaving the neighbourhood, will sell by auction the very handsome and costly appointments” at Ryburn. The sale took place on Tuesday and Wednesday last week.  The whole village was at liberty to go and look at Bluebeard’s Chamber, and wonder at the old oak in the hall and dining-room, the gilt and the inlaid furniture, the rich carpets, the elctro-plate, the pictures, the handsome ornaments, the six writing tables, and the “first-class match pair of bay carriage horses (with black points)” in their stable, “well known in the district as fast good movers” – like their owner, it was jocularly said.  Mr Grosvenor Bradley had taken a new office in Manchester, where, by strict attention to business – But his arrest forbids the conjecture.  Mr Bradley’s attention to business now engages the help of a solicitor, and gives him, doubtless, a certain new anxiety.

Mr Grosvenor Bardley: Leading Figure in the Novelties Trial (The Lancashire Daily Post, 30 April 1902)

Mr Grosvenor Bradley, upon whom the curtain rang down at Manchester Assizes on Tuesday night, resided up the time of his arrest in connection with the Patent Novelties case at Ripponden, a hamlet on the border line which divides Lancashire from Yorkshire.  He has lived at Ripponden for the past five or six years, but Ripponden has none the more known anything definite about Mr Bradley.  It confesses that Mr Bradley has “done the heavy,” but there its knowledge of the gentleman ends.  Curiosity to know something more about him led certain enterprising amateurs in the Sherlock Holmes line to follow him occasionally to Manchester; but these seekers after knowledge invariably confessed that on reaching the chambers which Mr Bradley entered they found themselves baffled.  There were a lot of names at the entrance – names of occupiers of offices in the building – but Ripponden not being used to this perplexing multifariousness, confessed itself at a loss.  It reminded one, in fact, of the remark made in regard to clearances of familiar property in the metropolis – how that their chambers being dissolving views the occupants themselves became mysterious disappearances. 

Undoubtedly, Mr Bradley has remained for Ripponden the “man of mystery.”  Stress is laid upon his “aristocratic bearing” – he had a liberal hand, as the porters who are said to have almost fought with each other at Sowerby Bridge Station for the privilege of serving can testify.  It is told with awe that he once gave a porter at Victoria Station, Manchester, a half-sovereign “tip,” which the porter thought a mistake for sixpence, and dutifully drawing the donor’s attention to the fact, was reassured in quite lordly style that no error had been committed.

About a week before the Patent Novelties trial began Mr Bradley’s household furniture and other effects, to say nothing of his fine pair of bays and carriage, were sold by auction.  The amount realized from the sale is locally estimated at £1,200, and there were “high jinks” at the local hostelries while the sale was “on.”  Much is thought of what the men from Manchester who attended the sale did not say, and it is sagely observed by the wiseacres of Ripponden that these gentry knew a lot.

Of the coming and going of servants during Mr Bradley’s tenancy of Ryburn, there would seem to have been almost literally no end.  Mr Bradley does not appear to have taken anybody in the village into his confidence, and (no doubt, necessarily) least of all his servants.  Butr, as has been the role of servants from early times, some of his menials were afflicted with an undue thirst for knowledge.  As a ruke, this thirst was seldom appeased.  A rough calculation puts the number of domestics who have enjoyed a fitful stay at Ryburn at 200!  It is in the memory of the village fathers that a servant has been known to be cashiered on the very day of arrival.  But even this was not regarded as betokening a harsh disposition.  With princely liberality the dismissed one was handed a month’s salary, and sometimes even given an extra sovereign.  Dismissal under such circumstances was regarded as an exceedingly pleasant experience.  Once, it is said, there were three sent off in one day.

Whatever may have been the fate of a prophet, it is made clear enough at Ripponden that Mr Bradley was not without honour among the people with whom he had made his home.  Apart from that irritating barrier of reticence, they had no fault to find with him.  At Sowerby Bridge Station he will be much missed.  It was the custom there to keep a carriage reserved for his sole accommodation.


Of Mr Bradley’s daily life Ripponden had no exact idea.  He drove in his carriage and pair to the railway station about ten every morning, and returned about four o’clock in the afternoon; but beyond these somewhat unsatisfying details Ripponden was at a loss.  It did once say he might be “my uncle,” but only a discredited minority held for long to that view.  Against this theory was opposed the knowledge of the luxury of life at Ryburn.  Velvet pile was talked about in reference to carpets, and amazing references were made to jewelry and champagne – gossip even went so far as to enlarge on the fittings of the gymnasium, and to hint at the setting up of a “theatre” at Mr Bradley’s residence.  Through it all, however, Mr Bradley himself, to the great regret of Ripponden, kept outside the radius.


Also revealing is a speech made by Walter Bradley during the trial:

Manchester Courier and Lancashire General Advertiser - Thursday 24 April 1902

Bradley opens his Defence
At half-past five in the afternoon Bradley commenced to address the jury in his own defence.  The question at issue, he said, seemed to be chiefly one of motive, and with a view to establishing the probity of his past career he entered into a long autobiographical narrative, in which he mentioned that he was born in the county of Lancaster 55 years ago and had never up to the time of the present proceedings had any charge laid against him either public or private.  After making allusion to what he called the atrocious attack which had been made upon him, he said: “If you had looked into the said face of loved ones which were once bright and bonny, and if you had the knowledge I have of ruined [?] which have resulted from this attack made upon me I think everybody would feel as I do.” No one, he continued, could voice forth the indignation he felt at the charges brought against him, and at the misconduct of those who had used the press, the courts, and the Treasury for their own evil purposes.  Continuing his family history, Bradley described how, having been brought up without a tr[?] in any business or profession, and finding himself on the death of his father, 30 years ago, left in a responsible position as a land and mine [c?] he turned his attention to other branches of enterprise.  For a short time he was engaged as an African merchant, but the vessel in which he was interested became a wreck, and he gave that business up.  At the time he was living as a mine owner in Derbyshire he had certain business transactions with Mr J. Cunliffe, who was a mill owner residing at Chorley. Cunliffe owed him £20,000, and following the settlement of that account they became mutually interested in certain inventions and patents, including a ball game, which was being manufactured in Birmingham, London, and other places.

Fortunes Made Easily
Whilst in London some of the wholesale houses represented to him that great fortunes were being made out of monopolies of that kind, and they said that if he (Bradley) could supply the ball game with superior finish they could take them in such quantities that £10,000 a year could be made out of them.  That statement, added Bradley, might appear to those who had not studied the question to be a somewhat extravagant one, but to those who had studied the profits to be derived from these apparently small things it was not extravagant in any shape or form.  He came down to confer with the joint owner, Mr Cunliffe, and they arranged to use Mr Tomlinson’s office as a meeting place.  In 1890 Cunliffe and he arranged to form a company with a view to acquiring and dealing with the inventions and patents of which they were joint owners. To embark, Breadley explained, into an ordinary trade was to lose money from over competition and inexperience.  This consideration led him to a closer study of investments and to the conclusion that for men who had not been Educated to any other occupation undoubtedly the best opening lay in the direction of monopolies.  After making exhaustive investigations he found existing all around him a series of interesting and surprising facts. He found a vast network of liberal incomes, which were being enjoyed by the possessors of interest in monopolies, and that, in the majority of instances, these incomes were derived from small and apparently trivial inventions.

Having thus partially accounted for his connection with the company, Bradley commented in severe terms on the manner in which he had been treated by the prosecution.

Complaint Against the Prosecution

Such treatment, he said, was unworthy of the King in whose name the Crown counsel acted, and he believed the King would bow his head in shame if he knew if he knew that his advocate behaved in such a way.  Did the court think, he asked, that he should stand in the midst of them that day in all the disadvantage and inequality of the fight which had been forced upon him if he did not feel that One was with him who would justify him?  What was the cause, he asked, why he, in the name of his King and country, should be surrounded by enemies and every species of wrong done to him.  Various attacks, he continued, had been levelled against him in regard to his name.  The explanation was very simple.  His father had lived and died beloved and honoured by all who knew him.  His grandfather was a member of one of the noble families of England.  He married into the Grosvenor family, and the descendants of his issue were the Grosvenor Bradleys.  This simple fact, which did not concern anyone but the family, had been made the most malignant use of in these proceedings, Bradley added that his conduct in life had been guided largely by the dying counsel of his father, who sent for him at his bed side and said, “You may make mistakes and lose money, but do your best for all and I shall be satisfied.”  “Since then,” Bradley continued, “I have made mistakes and lost money, but one thing I have lost money, but one thing I have not lost, and that is the knowledge that I have done my best for all.”  He did not, he proceeded, claim to have made no mistakes, but if anyone accused him at any time of having acted from corrupt motives, he could with a clear conscience deny it.  Those who accused him of paltry aims or selfish inclinations were those who did not know him.