Biography
Born in 1913 in Helensburgh, Scotland, Mary O’Rourke died in Glasgow in 1964. Growing up amid a large household in Glasgow, she took up singing during childhood and claimed victory in a talent contest alongside one of her brothers. Her move to London brought an unforeseen shift in direction. At a time when boy-soprano discs dominated the market, a label executive—concerned about the brief careers of such performers and the difficulty of launching replacements once their voices changed—engaged her to pose as a male vocalist. Under the name Master Joe Petersen she appeared in photographs wearing a suit and Eton collar, was presented as a choirboy, and was promoted as the Phenomenal Boy Singer. Backed by piano or, on occasion, Wurlitzer organ, she cut dozens of 78s in the capital throughout the 1930s. Among the best-known sides were “A Portrait Of A Lady,” “It’s My Mother’s Birthday Today,” “Smilin’ Through,” “My Ain Folk,” “It’s A Sin To Tell A Lie,” and “Sweetheart Let’s Grow Old Together.” Additional releases appeared under the names Master Wilfred Eaton and Michael Dawney.
Her domestic circumstances were often unsettled. After marrying concert violinist George Lethbridge upon learning she was pregnant, she found the relationship unhappy. The BBC, acting as guardian of public taste, ruled that a woman in her twenties appearing as a boy was unsuitable; although the performances were on radio and therefore invisible, the corporation imposed a ban that damaged her prospects. Even so, work as a variety-theatre attraction continued across the United Kingdom into the 1950s, sustaining particular popularity north of the border in Scotland.
Her domestic circumstances were often unsettled. After marrying concert violinist George Lethbridge upon learning she was pregnant, she found the relationship unhappy. The BBC, acting as guardian of public taste, ruled that a woman in her twenties appearing as a boy was unsuitable; although the performances were on radio and therefore invisible, the corporation imposed a ban that damaged her prospects. Even so, work as a variety-theatre attraction continued across the United Kingdom into the 1950s, sustaining particular popularity north of the border in Scotland.