Great War Theatre

Examiner of Plays' Summary:

A dainty, charming childish play, whimsical like in sentiment and humour, and ‘Barrie’ all over. Its heroine is the quaint cockney slavery of a middle aged artist, whom she mothers in her Wendy-like way, and who’s who it is to dub her Cinderella. The nickname fires the imagination the girl into the belief - which she expresses in the language of the penny novelette - which she, too, is to drive in a pumpkin coach to a Palace, to carry all before her with her glass slippers, and to marry a prince. In odd contrast to her is introduced as hero a Gilbertian policeman, called in by the artist to solve his doubts as to the home and home-life of his mysterious little day-servant. The constable follows Jane, otherwise Cinderella, to her humble abode, where of course he finds her playing guide philosopher and friend to all sorts of queer protégés, grown-ups as well as children. In his turn the policeman plays good angel to her, and helps her to realise her dream, which is illustrated for us in the second act as a fairy-tale translated into the language and fancy of the servants’ hall. The third act strikes an original if rather forced note of pathos by making Cinderella a patient in a hospital for waifs and wounded soldiers, run by the term doctor-sister of the whimsical painter. To this singular establishment the imaginative slavery, cured of her fancy and recovering from the pulmonary disease threatened by her privations, is followed by her faithful knight of the truncheon, and is betrothed to him after an exquisitely doll and tender courtship. Full of conceits, shred, touching, and sometimes a trifle foolish; but always pure and wholesome. Recommended for licence, Ernest A. Bendall.

Licensed On: 7 Mar 1916

License Number: 110



British Library Reference: LCP1916/5

British Library Classmark: Add MS 66126 J


16 Mar 1916 Wyndham's Theatre, LondonUnknown Licensed Performance