Joan Gadsdon

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}}'''Joan Margaret Anne Gadsdon''' (23 April 1923 – 12 October 2003) was an Australian ballet dancer, actor and artist. She was one of the pioneers of early Australian ballet in the 1940s, performing with the newly established [[Hélène Kirsova|Kirsova]] and [[Edouard Borovansky|Borovansky]] [[Ballet company|ballet companies]]. After emigrating to Great Britain she achieved minor theatrical fame in 1953 in London by stepping in at the last moment to save the famous British [[Musical theatre|stage musical]] [[The Boy Friend (musical)|''The Boy Friend'']] from almost certain oblivion. She continued to appear to some acclaim in the show in its [[West End theatre|West End]] run before retiring from the stage in 1959.

'''Joan Margaret Anne Gadsdon''' (23 April 1923 – 12 October 2003) was an Australian ballet dancer, actor and artist. She was one of the pioneers of early Australian ballet in the 1940s, performing with the newly established [[Hélène Kirsova|Kirsova]] and [[Edouard Borovansky|Borovansky]] [[Ballet company|ballet companies]]. After emigrating to Great Britain she achieved minor theatrical fame in 1953 in London by stepping in at the last moment to save the famous British [[Musical theatre|stage musical]] [[The Boy Friend (musical)|''The Boy Friend'']] from almost certain oblivion. She continued to appear to some acclaim in the show in its [[West End theatre|West End]] run before retiring from the stage in 1959.

==Early life==

==Early life==

==European ballet==

==European ballet==

In London Gadsdon joined [[Mona Inglesby]]’s [[International Ballet]], recognised as Britain's largest classical touring company.{{cite news | publisher = The Daily Telegraph|date = 9 December 2012 | url = https://www.telegraph.co.uk/culture/theatre/dance/9729920/Mona-Inglesby-the-forgotten-heroine-of-British-ballet.html| accessdate =26 May 2014| location=London | title=Mona Inglesby: the forgotten heroine of British ballet}} Soon after she joined, the company went on a five-month tour of the Midlands and Northern Ireland, playing the stages of large cinemas as well as conventional theatres, on a weekly basis, to regularly full houses. The repertoire included ''Masque of Comus'', [[The Sleeping Beauty (ballet)|''The Sleeping Beauty'']] and ''[[Swan Lake]]''. Performances in and around London followed.

In London Gadsdon joined [[Mona Inglesby]]’s [[International Ballet]], recognised as Britain's largest classical touring company.{{cite news | publisher = The Daily Telegraph|date = 9 December 2012 | url = https://www.telegraph.co.uk/culture/theatre/dance/9729920/Mona-Inglesby-the-forgotten-heroine-of-British-ballet.html| access-date =26 May 2014| location=London | title=Mona Inglesby: the forgotten heroine of British ballet}} Soon after she joined, the company went on a five-month tour of the Midlands and Northern Ireland, playing the stages of large cinemas as well as conventional theatres, on a weekly basis, to regularly full houses. The repertoire included ''Masque of Comus'', [[The Sleeping Beauty (ballet)|''The Sleeping Beauty'']] and ''[[Swan Lake]]''. Performances in and around London followed.

In April 1949, Gadsdon left the International Ballet to joint the short-lived [[Metropolitan Ballet]] for a season at the [[Earls Court Exhibition Centre|Earls Court Arena]] which included ''Le Beau Danube'' choreographed by [[Léonide Massine]].

In April 1949, Gadsdon left the International Ballet to join the short-lived [[Metropolitan Ballet]] for a season at the [[Earls Court Exhibition Centre|Earls Court Arena]] which included ''Le Beau Danube'' choreographed by [[Léonide Massine]].

In June 1949, Gadsdon travelled to Paris to join the [[Original Ballet Russe]] which was being restarted by Colonel [[Wassily de Basil]],{{cite web | accessdate=28 March 2010 | url=http://www.answers.com/topic/les-ballets-russes-de-monte-carlo | title=Les Ballets Russes de Monte Carlo | publisher=The Oxford Dictionary of Dance | year=2004}} but though rehearsals began the company did not become a performing reality. She moved on to [[Barcelona]] where she joined a ballet company formed by the choreographer [[Nina Verchinina]] which went on a five-week tour of northern Spain, visiting [[Bilbao]], [[Santander, Spain|Santander]], [[Burgos]], [[Valladolid]], [[Gijón]], [[Avilés]], [[Oviedo]], [[Benavente, Zamora|Benavente]], [[Salamanca]] and [[Palencia]], but at the end of the tour this company, too, closed, and Gadsdon returned penniless to London in November 1949.

In June 1949, Gadsdon travelled to Paris to join the [[Original Ballet Russe]] which was being restarted by Colonel [[Wassily de Basil]],{{cite web | access-date=28 March 2010 | url=http://www.answers.com/topic/les-ballets-russes-de-monte-carlo | title=Les Ballets Russes de Monte Carlo | publisher=The Oxford Dictionary of Dance | year=2004}} but though rehearsals began the company did not become a performing reality. She moved on to [[Barcelona]] where she joined a ballet company formed by the choreographer [[Nina Verchinina]] which went on a five-week tour of northern Spain, visiting [[Bilbao]], [[Santander, Spain|Santander]], [[Burgos]], [[Valladolid]], [[Gijón]], [[Avilés]], [[Oviedo]], [[Benavente, Zamora|Benavente]], [[Salamanca]] and [[Palencia]], but at the end of the tour this company, too, closed, and Gadsdon returned penniless to London in November 1949.

==Cabaret, variety and film==

==Cabaret, variety and film==

After the short successful run at the Players' Theatre, Gadsdon appeared in two revues. The first was at the New Lindsey Theatre and entitled ''In The Lap of the Gods''. Others in the cast were [[Fenella Fielding]],{{cite web|url=https://www.fenellafielding.com/career|title=Fenella Fielding: career|publisher=fenellafielding.com}} [[Gillian Lynne]]{{cite web|url=https://static1.squarespace.com/static/5ca0d6b3da50d33fe4915c72/t/5ee8762382f73209d5077d69/1592292899796/Gillian+Lynne+Career+Timeline2|title=Gillian Lynne|publisher=static1.squarespace.com}} and Richard Waring. The second, ''The Domino Revue'', was staged at the [[New Wimbledon Theatre]]. Other performers included [[Evelyn Laye]],{{cite web|url=https://www.encyclopedia.com/women/encyclopedias-almanacs-transcripts-and-maps/laye-evelyn-1900-1996|title=Evelyn Laye 1900–1996|publisher=encyclopedia.com}} [[Miriam Karlin]] and [[Ron Moody]]."Calls For Next Week", ''The Stage'', London, 2 July 1953

After the short successful run at the Players' Theatre, Gadsdon appeared in two revues. The first was at the New Lindsey Theatre and entitled ''In The Lap of the Gods''. Others in the cast were [[Fenella Fielding]],{{cite web|url=https://www.fenellafielding.com/career|title=Fenella Fielding: career|publisher=fenellafielding.com}} [[Gillian Lynne]]{{cite web|url=https://static1.squarespace.com/static/5ca0d6b3da50d33fe4915c72/t/5ee8762382f73209d5077d69/1592292899796/Gillian+Lynne+Career+Timeline2|title=Gillian Lynne|publisher=static1.squarespace.com}} and Richard Waring. The second, ''The Domino Revue'', was staged at the [[New Wimbledon Theatre]]. Other performers included [[Evelyn Laye]],{{cite web|url=https://www.encyclopedia.com/women/encyclopedias-almanacs-transcripts-and-maps/laye-evelyn-1900-1996|title=Evelyn Laye 1900–1996|publisher=encyclopedia.com}} [[Miriam Karlin]] and [[Ron Moody]]."Calls For Next Week", ''The Stage'', London, 2 July 1953

In October 1953 ''The Boy Friend'' reappeared, improved and extended, with a new dance number especially choreographed for Gadsdon. The show opened again at the Players' Theatre and then moved to the [[Embassy Theatre (London)|Embassy Theatre]] at [[Swiss Cottage]] in London on 1 December. This new version attracted the attention of theatre owners and producers, and it opened in the West End at [[Wyndham's Theatre]] on 14 January 1954. It proved to be a notable, long-running success, ultimately being at the time the third-longest running musical in West End history. Gadsdon played two parts: Fay, one of a quartet of lively girl pupils at Mme Dubonnet’s Finishing School in Nice, France, and Lolita, a "Speciality Dancer" who performed a preposterous tango with Pépé (played by Stephen Warwick). Gadsdon and Warwick, playing a "mutually antipathetic couple", delighted the West End audience every night with their dance number and frequently "stopped" the show.

In October 1953 ''The Boy Friend'' reappeared, improved and extended, with a new dance number especially choreographed for Gadsdon. The show opened again at the Players' Theatre and then moved to the [[Embassy Theatre (London)|Embassy Theatre]] at [[Swiss Cottage]] in London on 1 December. This new version attracted the attention of theatre owners and producers, and it opened in the West End at [[Wyndham's Theatre]] on 14 January 1954. It proved to be a notable, long-running success, ultimately being at the time the third-longest running musical in West End history. Gadsdon played two parts: Fay, one of a quartet of lively girl pupils at Mme Dubonnet's Finishing School in Nice, France, and Lolita, a "Speciality Dancer" who performed a preposterous tango with Pépé (played by Stephen Warwick). Gadsdon and Warwick, playing a "mutually antipathetic couple", delighted the West End audience every night with their dance number and frequently "stopped" the show.

Gadsdon stayed with ''The Boy Friend'' for three-and-a-half years. She also doubled as [[Ballet master|ballet mistress]], taking over rehearsals when John Heawood went to Broadway with the show, and teaching new understudies. But by the summer of 1957 she was exhausted and at nearly 35 felt her working life as a dancer was coming to an end. She left the show on 31 August, though for a period she returned to act as an understudy through the major [[influenza pandemic]] of that year.

Gadsdon stayed with ''The Boy Friend'' for three-and-a-half years. She also doubled as [[Ballet master|ballet mistress]], taking over rehearsals when John Heawood went to Broadway with the show, and teaching new understudies. But by the summer of 1957 she was exhausted and at nearly 35 felt her working life as a dancer was coming to an end. She left the show on 31 August, though for a period she returned to act as an understudy through the major [[influenza pandemic]] of that year.

The life of a theatrical "gypsy" had not prepared Gadsdon for that of a wealthy woman-about-[[Mayfair]]. For some years she lived a life of extreme comfort but eventually grew tired of it and in 1972 she opted for a single life again and found a large studio in [[Notting Hill]] in West London where she pursued a precarious living of part-time jobs. She took up painting again, producing many accomplished portraits of mainly theatrical personalities, and teaching. She continued to pursue an interest in her family [[genealogy]] which had started in her years in Mayfair. She also began creative writing, though with little reward.

The life of a theatrical "gypsy" had not prepared Gadsdon for that of a wealthy woman-about-[[Mayfair]]. For some years she lived a life of extreme comfort but eventually grew tired of it and in 1972 she opted for a single life again and found a large studio in [[Notting Hill]] in West London where she pursued a precarious living of part-time jobs. She took up painting again, producing many accomplished portraits of mainly theatrical personalities, and teaching. She continued to pursue an interest in her family [[genealogy]] which had started in her years in Mayfair. She also began creative writing, though with little reward.

Gadsdon made one more return to the West End stage in 1990 when a Sunday night performance of ''The Boy Friend'' was staged at the [[Duchess Theatre]] with most of the original cast."Production News", ''The Stage'', London, 4 January 1990 A review reported that "Joan Gadsdon and Stephen Warwick danced the Carnival Tango with as much sinuous camp as ever"."Turning back the clock", ''The Stage'', London, 8 February 1990 In her unpublished autobiography, Gadsdon wrote: "As we stood holding hands and singing the final chorus of the song I felt unbelievably sad. We waved goodbye to the audience, the curtain came down and my little moment of glory was over. I had loved every minute of it.

Gadsdon made one more return to the West End stage in 1990 when a Sunday night performance of ''The Boy Friend'' was staged at the [[Duchess Theatre]] with most of the original cast."Production News", ''The Stage'', London, 4 January 1990 A review reported that "Joan Gadsdon and Stephen Warwick danced the Carnival Tango with as much sinuous camp as ever"."Turning back the clock", ''The Stage'', London, 8 February 1990 In her unpublished autobiography, Gadsdon wrote: "As we stood holding hands and singing the final chorus of the song I felt unbelievably sad. We waved goodbye to the audience, the curtain came down and my little moment of glory was over. I had loved every minute of it.

Though living in Britain from 1948 to 2003, Gadsdon did not apply for British citizenship and kept her Australian citizenship until her death.Papers of Joan Gadsdon, circa 1937–2003, manuscript reference no.: MS Acc06/132, MS Acc08/49, National Library of Australia

Though living in Britain from 1948 to 2003, Gadsdon did not apply for British citizenship and kept her Australian citizenship until her death.Papers of Joan Gadsdon, circa 1937–2003, manuscript reference no.: MS Acc06/132, MS Acc08/49, National Library of Australia

While undergoing a series of strokes, Gadsdon benefited from periods of respite care at the actors' care home [[Denville Hall]] in West London. She died in [[St Mary's Hospital, London|St Mary’s Hospital]] in London on 12 October 2003. She was 80. She was cremated at [[Kensal Green Cemetery|Kensal Green Crematorium]]. Her ashes were then taken to Australia and interred next to her mother's grave in Lithgow General Cemetery.

While undergoing a series of strokes, Gadsdon benefited from periods of respite care at the actors' care home [[Denville Hall]] in West London. She died in [[St Mary's Hospital, London|St Mary's Hospital]] in London on 12 October 2003. She was 80. She was cremated at [[Kensal Green Cemetery|Kensal Green Crematorium]]. Her ashes were then taken to Australia and interred next to her mother's grave in Lithgow General Cemetery.

Gadsdon's papers, including her unpublished autobiography, were deposited variously in the [[National Library of Australia]] and the Department of Theatre and Performance at the [[Victoria and Albert Museum]] in London (where cataloguing work is still in progress).

Gadsdon's papers, including her unpublished autobiography, were deposited variously in the [[National Library of Australia]] and the Department of Theatre and Performance at the [[Victoria and Albert Museum]] in London (where cataloguing work is still in progress).