Did you know that Sacred Heart College boasts one of Australia's most renowned colonial actresses among its alumni? Myra Kemble, a gifted performer known for her exceptional histrionic abilities, captivated audiences for three decades during the late 19th century. Her versatility allowed her to excel in both light comedic roles and serious theatrical productions, establishing her as one of Australia's earliest and most popular actresses.

Born Maria Teresa Gill in Sligo, Ireland, in 1857, Myra arrived in Victoria with her parents at the age of seven in 1864. Shortly after, she was enrolled at the Geelong Convent School, where she developed a fondness for acting through their productions. Reflecting on her time at the Convent, Myra recounted her first thoughts of going on the stage in an interview with the Otago Witness, a New Zealand newspaper in 1892:

…our little productions at the Convent at Geelong, where I was educated. I was cast for a part every time and grew fond of the amusement. And one of our girls after she left joined the ranks of the professionals. I thought of her description of the life of an actress so much that the idea became fixed in my mind that I too must manage to attain someday the blessed privilege of standing behind the footlights. When I left school and went to live with my parents at Kew (Melbourne), I quietly made up my mind to try for an introduction to the stage one day. When I was going into town for my music lessons, I stopped at the theatre and making the best of my way to the stage door, inquired for Mr Harwood. I had to wait a long time, but at length he came and the usher pointed him out to me. I approached without the slightest hesitation and said:  "Please Mr Harwood, I want to be an actress."

In 1874, at the age of 17, she was given a small part in a pantomime by Mr. Harwood, the theatre manager, thereby marking her theatrical debut under the stage name Myra Kemble. Described as phenomenally beautiful with red hair, a peaches and cream complexion, and a superb figure, Myra gradually secured various roles and eventually arrived in Sydney. Performing at the Victoria Theatre as part of the Centennial Burlesque Company, she showcased her talents in burlesque, comedy, drama, and pantomime.

By March 1878, Myra's captivating performances graced the Sydney stage regularly, leading to her landing prominent roles such as Lady Teazle in Richard Sheridan's A School for Scandal and Anne Catherick in The Woman in White. She also enthralled audiences as Ophelia in Hamlet, with her exquisite speech and unmatched charm. It is reported that she earned an impressive weekly salary of £40.

In December 1878, Myra married James White, a respected bookmaker well known for his integrity in Sydney. In 1882, they were blessed with a baby girl. However, troubles loomed on the horizon as Myra's struggles with alcohol addiction became apparent. Speculation suggests that she may have experienced what is now known as postnatal depression. As a result, she spent six months in a private sanatorium for alcohol dependency called the Northcote Asylum in March 1883.

In 1884, Myra embarked on a journey to New Zealand with her husband, where she announced that she had retired professionally from the stage but offered to act in small amateur companies. By 1885, she had returned to Australia and resumed her regular performances in Sydney's theaters, solidifying her presence in both the artistic and social scenes. During this time, renowned artist G.P. Nerli, a contemporary of Tom Roberts and Arthur Streeton painted her portrait, which attracted significant attention at the exhibition of the Royal Art Society in Sydney in 1888.

In 1899, Myra ventured to London, where she received a warm welcome and was celebrated by fellow expatriate Australians. However, English critics proved less enthusiastic. Disheartened by the halfhearted reception, Myra returned to Sydney. In 1890, she became one of the first Australians to have her voice recorded on a phonograph, and in 1893 she won the title of the 'most popular actress' on the Australian stage in a newspaper poll.

The economic depression of the 1890s inflicted financial hardships on the White family, leading to Myra's financial distress despite a successful tour of New Zealand in 1894. Determined to revive her career, she embarked on another ill-fated journey to England, where she was hospitalised for 17 weeks due to illness, returning to Australia as an invalid.

A significant benefit concert was held at the Lyceum Theatre on May 7, 1896 on Myra’s behalf. Joined by major theater managers, owners, JC Williamson's company, and the Tivoli Orchestra, the event drew attendance from Sydney's most prominent names and was enormously popular. 

Although thought to be retired from the stage due to her illness, Myra managed to recover and by 1897 was treading the boards again with her own theatre company, touring Australia until 1898. After this last flurry of activity Myra disappeared from the theatre scene and by 1900 is no longer seen in playbills and theatre reviews. 

After James died, Myra lived with her mother in Melbourne until 1902 when she was admitted to a private hospital. Sadly, Myra Kemble passed away at the Melbourne Hospital in 1906. Her death certificate recorded no known next of kin. 

A theatre critic at the time noted that her untimely demise had been from alcohol dependency, a vice that had taken a toll on both her health and her career. Once the toast of the Australian stage, Myra's death exemplified the fickle nature of fame. From her humble beginnings at Sacred Heart College to captivating audiences across the country, Myra's journey serves as a vivid reminder of the relentless pursuit of dreams, the exhilarating highs and challenging lows of a life in the spotlight, and the delicate nature of our human existence. 

Though her final days were marked by struggle, her legacy endures as a testament to her extraordinary talent, unwavering resilience, and the indelible mark she left on Australia's theatrical landscape. Myra Kemble, forever etched in the annals of history, inspires us to embrace our passions, nurture our wellbeing, and cherish the triumphant moments that illuminate our lives.

Sources:

• Myra Kemble Interviewed, Otago Witness, 17 March 1892, National Library of New Zealand, accessed 30/4/2023

• Lonely Death for Queen of the Stage, Richards, Leanne, Stage Whispers Nov/Dec 2012

• Pets of the Public, Ellis, Edward, Sydney 1888.