Hugo Lear was one of the most talented jugglers and balancers to grace the Australian stage, but his juggling ambitions were cut short by a series of illnesses. Later in his career he joined with his wife , Olga, to form a highly regarded juggling duo, the Wonderful Lears.
Hugo Lear’s birth date was around 1883 and his real name was Samuel Arthur Johnson.
His marriage certificate suggests he was born in Adelaide, however his death certificate states he was born in Ohio. It is clear from both that he spent most of his youth in South Australia. At times Hugo claimed to be American and to have worked with McAdoo’s minstrels. If he did so, it may have been in late 1899 when the troupe appeared in Adelaide. All the performers in McAdoo’s troupe were African American and some were the descendants of former slaves. John Pamplin was the talented juggler of the show. There is no record of Hugo appearing with the Minstrels in Adelaide, but he may have seen them. Claiming an association was a smart marketing ploy for a young African Australian performer, as the troupe was well known as high quality respectable entertainment.
Hugo first appeared as a professional in Ballarat around 1901 when he juggled at the 50 year celebration of the founding of gold in the city. He was young, handsome and skilled even at barely 18 years old. His talents were multiple, he was a good singer, a fine comedian and had an infectious laugh. He was also a very adept juggler and balancer. His many abilities made him a useful player for travelling shows where he could fulfill diverse roles for smaller companies.
In 1902 , Hugo joined with Cardun the magician in a tour of regional Victoria. He performed some ‘ really remarkable juggling feats and other samples of the juggler’s art.’ With Cardun’s troupe, he sang, juggled and told comedic anecdotes. He also acted as an end man for the minstrel part of the program
Hugo started to employ plate spinning in his act around June that year. It soon became an integral part of his juggling turn. In September he travelled to Tasmania with Cardun and ‘managed to set the audience roaring and severely tested the acoustic properties of the hall which reverberated with the echo of convulsive merriment.’ He was quite clearly a skilled comedian.
During this Tasmanian tour he performed with Arnoldi, another young juggler from South Australia who incorporated many of Cinquevalli’s tricks into his programme. Hugo also met John Fuller Snr and worked with Fuller's entertainers. This was a connection which proved fruitful for his future ambitions.
By 1903, Hugo had established a good reputation in the industry as an adept juggler and popular entertainer. He toured New Zealand that year with the Fullers and ‘drew loud applause’ in Christchurch. In December he was working at the Theatre Royal in Brisbane with Holland’s entertainers
Hugo Lear is a young man who has brought feats of balancing plates, vegetable tureens, billiard balls, bass drums etc. to a fine art. He manipulates them singly or massed together with equal ease. He will balance a pound note on its edge on a silk hat.
Hugo’s act in Queensland also featured other unique balances
The juggling feats of Hugo Lear were well received. His cleverness in successfully balancing a revolving plate on an ordinary coach whip, supported on another plate held in his mouth, proves him to be a juggler up to date.
He continued performing in Brisbane and regional New South Wales into 1904, when a health issue stopped his promising career. It was the first of many health crises that would derail his juggling ambitions.
Hugo in the back row, last on the right at the first meeting of the AVA
Hugo was clearly a popular member of the Australian vaudeville community by this time, and his illness was noted by the trade papers. In Sydney, in November, the community organised a benefit for him, which was unusual for a performer at such a young age.
On Thurs 14th a benefit is to be tendered to Hugo Lear (a member of Bert Howard’s entertainers) who has been confined to his bed in the Sydney Hospital and has undergone two serious operations which have rendered him totally unfit to follow his profession…Hugo Lear is the sole support of an aged mother and younger members of the family in Northern Queensland and the object is indeed a deserving one. All available artists have promised their support and services.
Hugo was an active member of the local vaudeville scene and in December 1905, having recovered from his illness, attended the first meeting of the Australian Vaudeville Association in Sydney. Hugo always returned to Sydney for his medical crises, and it seems he had a connection to the city. Hugo’s illnesses were rarely specified, but they seemed to be lung and heart related. The crisis of 1904 was the first of many serious health issues which dogged his career.
The illness obviously impeded his professional progress and he spent the next two years touring regional Australia with small companies such as Bain’s Gaiety Entertainers and the London Pierrots. He also performed at many smaller venues for benefit nights. In Sydney he performed at Parramatta Town Hall and Georges Hall in Newtown. By 1906 he was travelling with Verto’s Biotint show and was plagued by bronchitis which resulted in him missing some dates. But by July he was ‘ plate, coin and ball spinning’ and his ‘manipulation of three swords in the air’ was’ startlingly good.’
However, it was his balancing feats which drew the most attention.
Mr Hugo Lear …gave a juggling exhibition of exceptional merit. Amongst other difficult feats he balanced a revolving plate on the top of an umbrella, he then balanced the umbrella on a playing card and placed the whole on the edge of a plate that was held in his mouth while plate, umbrella and playing card revolved at different speeds.
It was January 1907 and he was with Ted Holland’s entertainers at the Theatre Royal in Brisbane, and it seemed he had regained career momentum. Throughout the early part of 1907 he continued his rise in the vaudeville industry with outstanding reviews describing him as a ‘star performer’,and ‘amongst the best items on the bill’ .
Hugo juggled and balanced with a sure hand and a dexterity and precision rarely seen on the Australian stage. He was also introverted, acknowledging rapturous rounds of applause with a ‘slight nod of the head.’ He seemed modest despite being an acknowledged ‘smash hit in Brisbane.’
In March Hugo returned to Sydney and performed with Foley’s Circus. However, by October the trade papers were reporting another health crisis.
‘Hugo Lear has had to undergo a severe operation in Sydney. Am glad to say latest reports are favourable.’
Around the same time Hugo met a young Sydney woman who would transform his personal and professional life.
Katherine Olga Hardy or ‘Hardie’ was born in Burwood, Sydney around 1887. She was not a professional performer, but may have met Hugo, either while he was in Sydney Hospital, or during an amateur performance. By December 1907, Hugo and Katherine, were in Victoria with a Kinetoscope Company led by a Mr Warren. Katherine used the name Kitty Hardie, sang a song and assisted Hugo with juggling.
But Mr Warren was not a good employer, and Hugo sued him the next year for non payment of wages. Hugo explained that he had arranged for Miss Kitty Hardie to come from Sydney to perform for Mr Warren, but the manager had refused payment. The magistrate expressed sympathy for Hugo’s cause, but stated that he was in the wrong jurisdiction. Hugo did not pursue the matter. It is tempting to suggest, that a white performer may have had a more sympathetic hearing.
In early 1908, Hugo and Katherine, who now went by the name ‘girl Olga’, formed a duo who toured the regional areas of Victoria.
By mid year Hugo and girl Olga had developed a polished juggling act that was proving popular with audiences and bookers. In June they played the Tivoli in Adelaide with Brandon Creamer’s All Star Company.
‘ The sensation of the evening was undoubtedly the ambidextrous balancing feats of Hugo Lear. His turn occupied several minutes and the audience was kept on tenterhooks the whole time lest something should fall.’
In July the pair were in Hobart and receiving rave reviews which acknowledged Olga’s contribution to the act.
Another wonderful turn is done by Hugo Lear and girl Olga. Hugo is a Cinquevalli, in a small way and some of his equilibrialism is enough to open the eye of a potato. He spins plates on the wobbly end of a coach whip with a playing card and another plate at the chin end. Girl Olga assists demurely and does some small line of comedy as an apprenticeship to the art of distributing crockery without smashing it
When an Australian juggler was compared to Cinquevalli, they were considered at the top of the profession. 1908 was obviously a good year for Hugo and Olga. They celebrated it in a unique way.
On December 4 1908, 21 year old Katherine Hardie married 25 year old Samuel Johnson in Melbourne. A year that had begun with a law suit against an unscrupulous employer, followed by a successful stint at the TIvoli , ended triumphantly with making their unconventional relationship official.
1909 was a quieter year for the Lears. They mostly performed in regional areas with Verto’s biotint and ended the year in Sydney. In September they appeared in a benefit show for Newtown publican John Cheesher at St George’s Hall. The evening ended when the local member of parliament presented both Mr and Mrs Chessher with diamond jewellery from their friends in Newtown.
In early 1910 the pair hit the big time in Sydney by performing at the National Amphitheatre. This was followed by a year long contract with the Harry Salmon Company. Hugo wrote to the local trade paper from Mackay in far north Queensland. ‘We have made a hit through the country with our double act of plate juggling and singing.’ and in September, reviews of the show said that;
‘Hugo seemed to be in his element when balancing a billiard ball on a cue and juggling vicious looking knives.’
However, unfortunately, the Lears could not complete their contract, as Hugo suddenly became ill in March. He had recovered by April when he and Olga appeared in Queensland with a new setting and some novel tricks for the act.
Attired in quaint Japanese costume, (they) twirled plates at the end of long rods balanced on chin or nose or some equally inconvenient part, juggled with knives, balls etc. and concluded with an amusing laughing song, ‘Redwing and the white girl.’
That year they also added hoop rolling to the turn. They spent 1910-11 touring the newly titled ‘Hugo and Olga ‘ around Australia and New Zealand. In 1911 Hugo was described as
Balancing billiard balls placed one on top of another on a piece of chalk in a triangle which was daintily supported on the top of a billiard cue and then skying the whole on his chin.
Olga contributed with her own unique balancing feats.
The lady too is an adept and one special turn the blowing of a peacocks feather up to the wings and then catching it on her nose brought redoubled applause.
In early 1912 they once again travelled to New Zealand and played on the Fuller’s circuit. They continued performing for Fullers- Brennan when they returned to Australia and spent the first half of the year as fixtures for that management team. It was an indication that the act was considered one of the country’s most successful and popular juggling duos.
Unfortunately just as they were heading to the pinnacle of success with a long term contract with a reputable chain, Hugo fell ill again. In February 1913, the trade papers reported that;
Hugo Lear of Hugo and Olga, the popular jugglers and balancers, has just undergone two operations in the Prince Alfred Hospital. Mr Lear has been ill for some time, but latest reports state that his condition is slightly improved.
The Referee Newspaper in Sydney added more information with a letter from Hugo and an appeal to the vaudeville community.
Hugo Lear, of Hugo and Olga, whose graceful juggling and balancing has won appreciation on the Brennan Fuller and other circuits, has latterly had very hard luck. For twelve weeks he has been in the Prince Alfred Hospital and he is still there. He has undergone two operations, both unsuccessful. Mrs Lear, (Olga) has had a trying time, as the act is of a kind she cannot work alone. She has been befriended by Mrs Tye of Delwyn and Tye, the well known song and dance double. “Until I recover”, says Mr Lear in a letter to the Referee, “they have kindly take the wife in and made her very cosy. Delwyn and Tye are now playing Brisbane Holland’s and while there they collected a subscription amongst the artists just to help my wife. I want to thank Delwyn and Tye and all artists who so kindly gave a donation.” This is a case for which further assistance may well be given locally. Hugo and Olga are clever on the stage, and off it are a pleasant, likable young couple.This is a time for friends and associates to rally to their help.
Clearly the pair were very well liked amongst their peers and the response to the newspaper’s appeal proved this. In July 1913, Fullers organised a benefit for Hugo at the National Amphitheatre in Sydney. All the headliners in the city attended and gave a free performance to help the young couple.
It took Hugo a long time to recover from this illness and the act did not travel Australia again. He returned to Queensland where his family lived ,and with Olga ,toured small regional towns.
The act was described as ‘the prettiest and most finished of its kind.’ and they were billed as ‘Japanese specialists.’
They remained in Queensland for most of 1914. In March the act was back to its best.
Hugo and Olga figured in a remarkably neat balancing and juggling act. This was presented with a specially designed Japanese setting. Olga performed the really clever feat (all the more meritorious on account of its being done in the open air) of blowing a feather from a blowpipe and catching and balancing it on its fall on her forehead. Nothing appeared to come amiss to Hugo in his quaint performance. Perhaps his most dexterous feat was the balancing on an ordinary playing card on a stick on which a plate revolved at smart speed. Hugo then balanced the whole on a cigar, upon which he puffed away contentedly. His quaint burlesque of sword swallowing was another popular item of his performance, the success of which was amply demonstrated by the hearty applause. A character not usually found in vaudeville work figured in the performance. This was a teddy bear, which did not appear to suffer from stage frights and blandly regarded the progress of the turn and the audience with thorough enjoyment.
But shortly afterwards Hugo was in Rockhampton hospital and a subscription was again collected to support the pair.
They spent most of 1915 in Queensland performing for various companies between movie showings. The live teddy bear was given a name, Tango, and became an integral attraction of the turn. In November 1915 they were performing in regional Queensland with Tango, in a ‘clever comedy juggling act.’ But Hugo was obviously ill and was admitted to Brisbane hospital. He passed away on December 12 from heart failure. He was 32 years old.
Olga arranged the funeral with friends from the theatrical community and had a brief career as one of the ‘sisters hardie.’ They gained little success. In the 1920s a theatrical magazine reported that Olga had remarried, she never performed again.
Hugo Lear was one of the most talented jugglers to appear on the Australian stage. He was a versatile performer who constantly adapted his act to changing audience taste and manager demands. When he met Katherine Hardie, his career skyrocketed as they conquered Australasia as the duo act of Hugo and Olga, the wonderful Lears. The couple entertained audiences around Australia for years with ill luck and ill health dogging their steps. Hugo’s early death robbed the world of a man who could have become one of the greatest jugglers in Australia, and sadly robbed Katherine, who ran away from home with a juggler, of the love of her life.
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