Miriam Sabbage (1919) 🇬🇧
The beauty prize winner, who will shortly be seen in her first picture-play
An event which every picture-goer is looking forward to is the first film in which Miss Miriam Sabbage, the Daily Mirror beauty prize-winner, appears. We are promised a great treat, for the picture will verily breathe the spirit of Britain from beginning to end.
The story will be British, the scenery will be British, and one of the leading players will be a bonny, essentially British type of girl.
According to Mr. Samuelson [G. B. Samuelson], the producer, “The story has just that heartsome blend of domestic drama and open-air life that will appeal to every type of picture-goer. It has suspense, surprise, and the gripping quality of strong human emotion, and it is called The Bridal Chair.”
A Typical Open-Air Girl.
Throughout the five acts of the picture the public will have an opportunity of witnessing Miss Sabbage in a succession of scenes which will exhibit her qualities as the typical open-air girl.
She will appear as a golfer and as a tennis-player, as well as in punting scenes up river, and in riding scenes. She will figure as a central character in a racecourse incident, and also in a big hunt scene. The beauty of the surroundings in these pictures cannot be surpassed by the scenery in any country.
Miss Sabbage has shown remarkable aptitude as a picture actress, for a beginner. She photographs well from the “screen” point of view, and has quickly learnt the difficult art of moving correctly in front of the camera. The camera, be it noted, is a relentless critic, and the slightest fault in deportment, which would pass by unnoticed in everyday life, is registered mercilessly.
Mr. Samuelson is quite satisfied with Miriam’s work.
“Miss Sabbage,” he recently confessed, has shown a tireless patience in her desire to do justice to her part.”
Miriam herself is highly elated with her part.
“I have always had an admiration for picture artistes,” she stated recently, “but I little thought it would be my great fortune to follow in their footsteps. I have done my very best, and I do hope I have succeeded in my work.”
I was fortunate enough to catch Miss Sabbage in one of the few slack half-hours of her crowded day. For Miss Sabbage has not been content to rest on her laurels. Acting for the screen by day and on the stage at night, she is one of London’s busiest workers.
“No,” replied Miss Sabbage in answer to my question: “although I have always wanted to go on the stage, I have never acted before.”
“Of course,” she went on in her charming way, “like all children, I loved ‘dressing-up’ when a kiddie, and I’ve done very amateurish acting in school plays.”
“What kind of part have you in The Bridal Chair, may I ask?”
“The type I like best — light comedy with a touch of pathos. There are one or two love scenes, but nearly all the others are sporting scenes — hunting, boating, cycling and golfing.
“Yes, I love sport. Particularly because I am so fond of being in the open air. I think swimming and riding are my favourite pastimes. I like boating if” — she added with one of her sunny smiles — “someone else does the work.”
“Did you find much difficulty in adapting yourself to screen work?”
“At first, yes. I could not forget the proximity of the camera. In studio work the lights are very trying — outdoor acting is much easier.”
I next asked Miss Sabbage whether she found the absence of an audience affected the intensity of her acting, or whether she missed the inspiration derived from contact with music-hall audiences.
“Well,” was her answer, “of course, one misses the appreciation and sympathy of an audience, but the absence of an audience makes the part seem more real, and one is less self-conscious.
“I think there is far more scope for individuality on the screen than on the stage, but the cinema is the more difficult. A good cinema actress must be born and not made, whereas training counts for a very great deal in stage work. I dread to see myself in my first picture — it is not like a stage debut, when the mistakes one makes can be rectified at the next performance.”
“Have you any hobbies?” was my next question. “When you have any spare time,” I hastened to add as I noted the whimsical expression that crept into the bright eyes.
“I am very fond of reading, and keep a little red book into which I copy all quotations and verses that appeal to me. I also keep a diary of all my experiences. Then I am passionately fond of music.”
“I am sure you sing,” I ventured.
“Well, yes. My favourite songs are Tosti’s [Paolo Tosti] Parted and Good-bye, and Softly Awakes My Heart, from Samson and Delilah.”
“Do you —”
But I was forced to desist, for across the velvety lawn at the rear of Worton Hall a messenger was signalling Miss Sabbage that “rest time,” like all good things, including my interview, was at an end.
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Miss Miriam Sabbage
Photo: Daily Mirror.
Collection: Picture Show Magazine, July 1919
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Miriam J. Sabbage (Miriam Jessie Sabbage) (1898–1988)