Great War Theatre

Examiner of Plays' Summary:

This is a revue or musical farce, suggesting adaptation from an American original. The Bing boys are the loutish but socially ambitious sons of a bucolic magnate, who send them up to town, that they may cut a dash away from their native Binghampton. Thither they are followed by the admiring cook-general Emma, who impersonates the series of distinguished ladies whose acquaintance they seek and make. Thus it is Emma after whom they are running when they seek to captivate a Valparaiso heiress, a popular actress and finally a Duchess. The Bing Boys chase after fashion takes us to a couple of London hotels, to a ‘star’s’ dressing room at the theatre, to the Zoo, to the new gallery cinema, and to the Duchess of Dulwater’s at Kensington. The incoherent action provides opportunities for all sorts of songs, dances, topical allusions, and personalities ranging from Horatio bottomless to Rudyard Kipling. These are all good-natured, and suggest, like the rest of the piece, hearty simple-minded fun with a minimum of paint. Recommended for license Ernest A. Bendall.

Researcher's Summary:

“The Bing Boys Are Here” by George Grossmith Jr. and Fred Thompson (with music by Nat Ayer and lyrics by Clifford Grey) opened at the Alhambra Theatre, Leicester Square, London on 19 April 1916 and closed on 27 January 1917 after 378 performances (nine per week). Advance publicity stressed the scale of the show. Alongside a strong company there was a chorus of 100. There are good photographs of the original cast members in character in The Tatler and The Sketch of 10 May 1916, The Illustrated Sporting and Dramatic News of 13 May 1916, The Sketch of 7 June 1916 and The Sketch of 24 January 1917 (this last showing George Robey and Violet Loraine on the former’s last night in the show). The show was popular with members of the armed forces. There are several newspaper reports of soldiers going into action carrying Bing Boys posters or decorating tanks with them. George Dance obtained the rights to produce the show outside London and organised two provincial companies of the Alhambra revue, which opened in October 1916. In the first company that George Dance sent out on tour the principal parts were played by Dan Agar, Walter Westwood and Mabel Twemlow (Cissie Thompson from December 1916). It opened at the New Theatre, Cambridge on 16 October 1916 and was subsequently performed in Coventry, Wolverhampton, Plymouth Southampton, Bournemouth, Bath, Brighton, Folkestone, Oxford, Portsmouth, Reading, Nottingham, York, Northampton, Chester, Burnley, Sunderland, Middlesbrough, Wigan, Cardiff, and Leicester where it closed on 14 April 1917. In the second company that George Dance sent out on tour the principal parts were played by Gus Oxley (initially but briefly Don Wade), George Hestor and Joan Hay. This company was advertised as George Dance’s principal or no. 1 company. It opened at the Lyceum Theatre, Sheffield on 22 January 1917 and was subsequently performed in Bradford, Glasgow, Edinburgh, Leeds, Liverpool, Newcastle, Birmingham, Stratford, Manchester, Wood Green, and Chiswick where it closed on 12 May 1917. There were many performances thereafter but the show has not been researched further.

Licensed On: 12 Apr 1916

License Number: 186


British Library Reference: LCP1916/8

British Library Classmark: Add MS 66129 S


Date Theatre Type
19 Apr 1916 Alhambra, London Unknown Licensed Performance
19 Apr 1916 Alhambra, London Professional
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'Originality, beauty, smartness, and witching music suggest themselves as the leading qualities of this astonishing revue, almost the last word in luxury one would think. It has a kind of plot, sufficient at any rate to keep the three or four leading characters in touch with each other, so that they may renew acquaintance through the depths of any disguise which freakishness happens to impose on them ... we are fairly launched, one splendid combination of scenery, costumes, and acting following another in rich profusion ... Only a theatrical costumier could do faint justice to the beauty and variety of the dresses. They delight the eye with ever fresh contrasts and harmonies ... A more successful entertainment than “The Bing Boys are Here” has not been put on the Alhambra stage since it was first laid down. It will surely draw all London’ (The Sportsman, 20 April 1916). 'The new Alhambra revue will make Oswald’s Toll of theatre taxes to the State a heavy one. The scenery is at times quite elaborate, and the dresses of the chorus are really charming - almost as charming as the faces' (The Daily Mirror, 21 April 1916). 'Judging from its reception this week, the new revue at the Alhambra is assured of a long and successful run. “The Bing Boys are Here” is the title given to the production ... The mirth is constant, and the revue, which is admirably staged, is certainly one of the best that London has seen’ (Leeds Mercury, 22 April 1916). '‘“The Bing Boys are Here,” and they have come to stop for a long and prosperous period, judging from the rapturous and enthusiastic reception accorded to the new revue last Wednesday night ... The book itself is not too striking in ideas, and there was very apparent “dragging” towards the end owing to the overloading of the show by the introduction of topical songs, imitations, and the like, which by now, no doubt, have been excised by the stage manager ... on the whole the music was not much above the revue average. The mounting and dressing of the production was of a lavish and elegant nature and adds further laurels to Mr. Oswald Stoll’s artistic taste and astute judgment in providing the pleasure-loving public with a first-class and really mirthful evening’s amusement’ (The People, 23 April 1916). 'The atmosphere of fun and frolic so material to the present time is created by the Bing boys at the Alhambra, and Mr. Oswald Stoll’s new venture is assured of a prosperous future. Everybody who mattered in the variety world seemed to be at the Alhambra on Wednesday night, and at half-time “Gus” was loaded with congratulations by a dense crowd at the back of the stalls. A wealth of brilliant scenes gladden the eye in “The Bing Boys are Here,” and charming ladies and smart men - the latter all attested or exempt - sing and dance throughout to the accompaniment of delightful music' (The Era, 26 April 1916). 'Let it be said at once that Mr. Oswald Stoll has scored an emphatic hit with his first West End revue – a piece that will doubtless revive the glory of the Leicester Square house and fill the place with enthusiastic audiences for many days to come ... Altogether The Bing Boys Are Here may be recommended on all counts, and if the great welcome which was accorded its production may be taken as an indication the Boys will remain us for many a long day’ (The Stage, 27 April 1916). 'The music is catchy, the dialogue witty, and the colour schemes delightful, and, but for a skit on Bottomley’s Business Government, there is not a single dreary moment in the whole revue’ (The Graphic, 29 April 1916). '‘The “Bing Boys” is assuredly the best revue on a large scale that London has seen. It is beautiful, it is funny, it is big and yet it is compact, and does not stray away from the pivot of its action ... The scenery that surrounds the “Bing Boys” is genuinely beautiful and original, and although, personally, Weigall’s English country house is of an unfamiliar variety to the writer, the artist has succeeded in giving so delightful a background to his fantastically designed costumes that there no reason why a new style of baronial mansion should not at once be inaugurated’ (Sporting Times, 29 April 1916). 'The 100th performance of “The Bing Boys” was celebrated on Friday night last. Mr. Stoll wishes to distinctly state that, despite all rumours to the contrary, Geo. Robey, Alfred Lester and Violet Lorraine have been engaged “for the run of the piece,” and that the present state of the advance booking is so satisfactory that undoubtedly a record run for this theatre may expected’ (The People, 9 July 1916). There was a charity performance on 10 July 1916 for 2000 wounded soldiers from various London hospitals: 'The theatre packed in every corner from floor to roof with Tommies – a few nurses & a few officers, all in great spirits & ready to give Robey a big reception. Tea & cake handed round during the interval in mugs & paper bags. The latter cause a great deal of noise – for ten minutes a miniature bombardment goes on – until 2000 bags are all blown out, burst & thrown. At the end the Surgeon Generals of the Army & the Navy speak from the stage & call for cheers & how they cheered! First the performers, then the Queen, then three more for George Robey. The latter is called & called till he finally has to come amongst the audience who demand autographs. One bold spirit from the gallery called out “Come up to heaven, George"' (journal of May Goodsir: see David Berkley, Wallacefield: The True Story Of An Auxiliary Hospital 1914-1918 (2021)). '“The Bing Boys Are Here” is produced on the true Alhambra scale, and is a full and complete entertainment which will suit every taste and relieve the great war-time strain' (East London Observer, 12 August 1916). ‘What’s the matter? There are people saying that real drama is dead in London, and that music halls and cinemas have completely shelved all serious plays. Perhaps there is a good deal of truth in the assertion just at present, but it’s only the war feeling. People want to be exhilarated, they want to laugh, they don’t want to be made to think, they just want to be made to forget blood and battle for an hour or two, and that’s why they flock to “The Bing Boys,” and would fill the Ambassadors [sic – the Alhambra] three time over at every performance if the theatre were only larger’ (Sporting Times, 21 October 1916). An advertisement in The Era, 27 December 1916 noted that the piece was ‘now in its ninth month of nine performances a week’.
16 Oct 1916 New Theatre, Cambridge Professional
23 Oct 1916 Opera House, Coventry Professional
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'There are over 50 members in the company, the programme includes no less than 26: - Lucifer Bing, Mr. Dan Agar: Oliver Bing, Mr. Charles Westwood; Captain Slasher, Mr. Cedric Percival; Dancer, Miss Vera Wilkinson; Aurora Summertime, Miss Nita May; Mayor Bing, Mr. Ronald Burt Massey; Mrs. Bing, Miss Marie Chester; Captain Basil, Mr. George Rover; Zookeeper, Mr. Charles Percy; Lord Rip, Mr. Edward Glee; Lord Nip, Mr. Tom Glee; Lady Mayfair, Miss Alma Ellis; Flower Girl, Miss Gladys Gregory; Paper Boy, Miss Dorothy Cartwright; Flapper, Miss Doris Gorman; Town Crier. Mr. Frank Lynch; Parson, Mr. Bernard McGlynn; Village Idiot, Mr. Edward O’Flynn; the M.P., Mr. Thomas Ward; Duke of Dullwater, Mr. Arthur Morrison; First Waiter, Mr. Louis Frank; Wine Steward, Mr. Bert Lynn; Press Agent, Mr. Harold Waite; Baby, Miss Nita May; Goo-Goo, Miss Ethel George; and Emma, Miss Mabel Twemlow. Mr. Agar, Mr. Westwood and Miss Twemlow necessarily have a great deal to do with the success of the piece, but there are not only a large number of contributors, but many of them have important parts. For instance, the Four Wards finely sang glees, as well as being in solos; they also exhibited clever step-dancing. It is impossible in a short notice to refer to all the individual performances. There was a continuous succession of enjoyments by various players. Very properly may it be said that the whole combined to make one of the greatest attractions seen at the Opera House for some time. Wit and humour is in abundance, there is much excellent singing and admirable acting, a capital chorus, beautiful dresses, captivating scenes, and graceful dancing. A number of recalls were insisted upon. It was a fascinating picture on which the curtain finally fell - the stage being occupied by the whole company, who were charmingly attired. There was frequent change dress by the players, and that naturally added to the pleasure of the spectacles. “The Bing Boys” has a good plot and connected story running through, telling of the exploits of the two country bumpkins coming to London to see the sights, followed by Emma, their servant, who makes her way through life, gets introduced into swell restaurants, and so on to the stage, and finally marries a duke. Miss Twemlow was thoroughly delightful as actress, dancer and singer. Her’s was a marked personal triumph. Mr. Agar and Mr. Westwood were extremely popular. They kept the audience laughing over their sayings, acts and songs from beginning to end. All three were the recipients of constant appreciation, one of many hits scored by them in combination being with the song “Another little drink won’t do us any harm.” There are heavy bookings all the week, so that a full house should be ensured for all performances’. Coventry Evening Telegraph, 24 October 1916.
30 Oct 1916 Grand, Wolverhampton Professional
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‘Mr. George Dance presents “The Bing Boys are Here,” with Dan Agar, Walter Westwood, and Mabel Twemlow in the cast’ at the Grand Theatre, Wolverhampton. The Era, 1 November 1916.
6 Nov 1916 Theatre Royal, Plymouth Professional
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'We understand the advance booking for next week at the Royal has beaten everything since “Peter Pan,” which still holds the record. There are yet, we are informed, several seats which can be reserved and intending patrons would be well advised to apply for them at the earliest moment ... With a first class company, full chorus, and augmented orchestra “The Bing Boys” will be seen in Plymouth at their best’. Western Morning News, 4 November 1916.
13 Nov 1916 Grand Theatre, Southampton Professional
20 Nov 1916 Theatre Royal, Bournemouth Professional
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'‘“The Bing Boys are Here” promises to be a success at the Theatre Royal next week quite beyond the ordinary. Already the demand for seats is great. Certainly the “Bing Boys” took the fancy of London, and with Mr. George Robey and Mr. Alfred Lester in the principal male parts, and Miss Violet Loraine as “leading lady,” it was not to be wondered at. And there is this special quality about the “Bing Boys” - it provides the chief artistes with every possible chance. Individual eccentricities are allowed full play, so that given the right people in the right parts it can scarcely fail with the average audience ... Some of the songs are particularly attractive, notably the duet between “Emma” and “Lucifer,” “If you were the only Boy in the World,” and the Four Wards (glee singers) are distinctly good, and deservedly popular. The piece is brightly mounted and the dresses are charming’. Bournemouth Graphic, 17 November 1916.
27 Nov 1916 Theatre Royal, Bath Professional
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‘Rarely has a theatrical engagement caused such excitement in the city as is being shown over the advent of “The Bing Boys” to Bath next week. Perhaps this is hardly surprising, inasmuch as not only is it the present rage of London, but is also drawing phenomenal houses at every theatre at which it has appeared in the provinces. At many theatres visited by this company it has been impossible after the second night to secure any more seats for the rest of the week, a wonderful state affairs which probably has had no equal since the early days of the “Merry Widow.” What it is in the “Bing Boys” that causes such enormous enthusiasm all over the country it is difficult to define. Perhaps it is its entire atmosphere of merry light-heartedness and spontaneous gaiety - of singularly attractive music and of inexhaustible humour that makes it so genuine a relaxation in dreary times ... The advance bookings at the Theatre Royal rival those of the D’Oyly Carte visits, and it is expected that “The Bing Boys” will create a new record for the theatre’. Bath Chronicle and Weekly Gazette, 25 November 1916.
4 Dec 1916 Theatre Royal, Brighton Professional
26 Dec 1916 Pleasure Gardens, Folkestone Professional
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‘It was a decidedly good stroke of business to secure the great Alhambra success as the Christmas week attraction at the Pleasure Gardens Theatre. It is precisely the kind of production that is most popular at this season of the year - bright, breezy, and exhilarating, with an abundance of good music and catchy songs, interspersed with some clever dances. We not want to be bothered with problem plays at Yuletide - some do not care for them at any time - and even a serious drama is rather heavy fare. The average playgoer, having put his gastronomical system to a pretty severe test, does not wish to tax his brain too severely, preferring some such light relaxation as that provided by Messrs. George Grossmith and Edward Laurillard’s revue as an antidote to the strain upon his digestive organs ... The first performance of the visit was given on Boxing Day afternoon, when there was a big “house,” but the audience in the evening was one of the overflowing variety. Every reserved seat was booked beforehand, and many were unable to gain admission at all. (By the way, there was a similar experience on Saturday night, when the D’Oyly Carte Opera Company concluded its engagement with a repetition of “The Mikado”). The production is full to the brim of good songs and fun'. Folkestone, Hyde, Sandgate & Cheriton Herald, 30 December 1916.
1 Jan 1917 New Theatre, Oxford Professional
8 Jan 1917 Hippodrome, Portsmouth Professional
15 Jan 1917 County Theatre, Reading Professional
22 Jan 1917 Lyceum Theatre, Sheffield Professional
29 Jan 1917 Theatre Royal, Nottingham Professional
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‘A crowded and enthusiastic audience assembled in the Nottingham Theatre Royal this afternoon at a special performance of the popular musical play, “The Bing Boys are Here,” in aid of the fund for Comforts for Prisoners of War, by permission of Mr. George Dance and the Robert Arthur Theatres Co., Ltd. Among those present were the Duchess of Portland, Lady Titchfield. Lady Charles Bentinck, Lord Algernon Gordon Lennox, and the Mayor of Nottingham (Councillor J. E. Pendleton). The artists and the staff of the theatre had given their services free, and during the interval the Mayor proposed a vote of thanks to all concerned, expressing his gratification at seeing such a large audience present in support of so deserving a cause. The Duchess of Portland seconded’. Nottingham Evening Post, 1 February 1917.
29 Jan 1917 Theatre Royal, Bradford Professional
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Gus Oxley advertised himself as playing Lucifer Bing in “The Bing Boys” that week at the Theatre Royal, Bradford followed by the King’s Theatre, Glasgow. The Era, 31 January 1917.
5 Feb 1917 Theatre Royal, York Professional
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‘At the Mansion House, York, the Lord Mayor and Lady Mayoress (Alderman and Mrs. W. A. Forster Todd), and the Sherriff and his lady (Councillor C. W. and Mrs. Shipley) gave a successful entertainment to wounded soldiers from the various York hospitals. Among the artistes who appeared were Miss Violet Blythe, Miss Elsie(?) Malpass, Mr. Fred Beck, Scotch Kelly, Lupino Lane, and the Four Wards. Dan Agar, Mr. Westwood, and Miss Gregory, from “The Bing Boys,” at the Theatre Royal, York; Miss Ada Wise and Miss Elsie Barton. Mr. Colin Bryce, from the Leeds Royal, was responsible for the stage arrangements’. The Era, 14 February 1917.
5 Feb 1917 King's Theatre, Glasgow Professional
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Noted as ‘On Tour’ at the King’s Theatre, Glasgow from 5 and 12 February in The Stage, 8 February 1917. ‘The revue, “The Bing Boys are Here,” which met with much success in London, was produced in the King’s Theatre last night, and the reception given to it suggested that the popularity which has been achieved will be maintained in the provinces. The theatre was crowded, and continuously throughout the performance there was hearty laughter and applause. This enthusiasm was justified as the revue is one of the brightest character, a lively production from start to finish. The music by Mr. Nat D. Ayer and the scenery by Messrs Harker are decidedly of higher than ordinary standard. There is something of a story also, but it matters only so far as it gives to the principals opportunities for excellent comedy and singing and dancing, and to the others occasions for wearing splendid dresses and contributing to the general gaiety. It is an artistically arranged show, but probably its strongest appeal to popularity is by its fun and brightness'. The Scotsman, 6 February 1917.
12 Feb 1917 The Opera House, Northampton Professional
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‘“The Bing Boys Are Here” is at the Northampton Opera House this week. It is a light musical entertainment, half revue, half musical comedy, which has had an immense success in London. The crowded audience last night laughed loud and often. For people who enjoy comic songs and patter and pretty dancing, the Opera House should prove a great attraction this week'. Northampton Chronicle and Echo, 13 February 1917.
19 Feb 1917 Royalty Theatre, Chester Professional
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'The production is on a lavish scale, the scenery and dresses being magnificent, and these together with the delightful singing and beautiful dancing, make the production exceedingly popular ... . Lady Mayfair (Miss Renee Bagot) has a charming voice, and meets with a healthy reception. The singing of the four Wards Comedy Glee Singers leaves nothing to be desired, while as the dancer Miss Thelma Rollason earns rounds of applause. Special mention also must made of Mayor Bing (Mr S. J. Chapman), Mrs. Bing (Miss Marie Chester), Capt. Slasher (Mr. Cedric Percival), and Capt. Basil (Mr. George Rover). Others taking part are : Aurora Summertime, Miss Nita May; Zoo-Keeper, Mr. Charles Percy; Lord Rip, Mr. Edward Glee; Lord Nip, Mr. Tom Glee; Manageress, Miss Aline Ellis; Dresser, Miss Gladys Gregory; The Girl, Miss Doris Gorman; The Flapper, Miss Mildred Seymour; Town Crier, Mr. Lew Marks; Parson, Mr Bernard McGlynn; Village Idiot, Mr Edward O’Flynn; The M.P., Mr. Vivian Gregory; Duke of Dullwater, Mr. Wm Ogle; First Waiter, Mr. Louis Frank; Wine Steward, Mr. Bert Lynn; Press Agent, Mr. Harold Waite; Doris Keane, Mr. Renee Bagot; Mr. Manhattan, Mr W. Ogle’. Cheshire Observer, 24 February 1917.
19 Feb 1917 Lyceum Theatre, Edinburgh Professional
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The work [of Gus Oxley and George Hestor and Joan Hay] 'is essentially that of the music hall comedian. One has always the impression. of transplanted “turns “ with the rest of the play for a setting. How near the work of. the principals in the modern musical farce approaches that of the old-time circus clown, in manner, methods, and even in make-up, may also strike the reflective; and the thought may raise in the mind some misgivings as to whether modern dramatic development is entirely in the right direction. There is no denying, however, that the Bing Boys are entertaining. Merriment last night filled the Lyceum Theatre ... Last night’s audience showed a high appreciation of the light and sparkling fare that was presented to them’. The Scotsman, 20 February 1917.
26 Feb 1917 Grand Theatre, Leeds Professional
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‘“The Bing Boys,” after their great success in London, are now on tour, and they make their first appearance in Leeds at the Grand Theatre this week. Last night they received the compliment of a crowded “house,” and their company was manifestly enjoyed. The show, as a whole, hardly warrants superlatives. It is mostly a familiar sort of entertainment of revue-ish type, charmingly dressed and attractively mounted, but lacking anything in the way of decided novelty'. Leeds Mercury, 27 February 1917.
26 Feb 1917 Victoria Opera House, Burnley Professional
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'The crowded house on Monday evening was evidence of the keen interest evinced in the advent of “The Bing Boys” in Burnley, and when the scene was finally rung down on their frolics “in town,” the spontaneous applause which arose from every part of the theatre, recalling the principals, again and again, was eloquent testimony of the measure of delight all present had derived from this most brilliant play. Of course one expects much out of the ordinary from such a collaboration as that of George Grossmith and Herbert Thompson, but humourous and clever as have been other productions from the same quarter, they are completely overshadowed by the delightful comedy, ear-haunting a music, beautiful dancing and exquisite stagings which entitles “The Bing Boys are Here” to be placed a pedestal by itself. Fun sparkles throughout the seven scenes of the two acts, of which the play comprised, and what is more it is genuinely wholesome comedy, interspersed with a rich vein of satire which gives it a particular zest'. Burnley News, 28 February 1917.
5 Mar 1917 Royal Court, Liverpool Professional
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‘“The Bing Boys Are Here.” The elaborate extravaganza from the Alhambra possesses in a combined form some of the most agreeable attributes of musical comedy and revue. Yet, by the same token, it is not free from the vapid vanities of both forms of theatrical production. The blemishes, however, are rather of minor importance, and “The Bing Boys” may be regarded as a well-knit, smartly-written, and artistically-staged series of incidents, in which a merry round of song and dance is kept going throughout seven scenes ... Altogether the production is not one to be missed by those who like this particular form of irrepressible entertainment’. Liverpool Daily Post, 6 March 1917.
5 Mar 1917 King's Theatre, Sunderland Professional
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Mentioned as ‘On Tour’ at the King’s, Sunderland from 5 March in The Stage, 1 March 1917; and advertised in the Sunderland Daily Echo and Shipping Gazette, 2 March 1917.
12 Mar 1917 Grand Opera House, Middlesbrough Professional
12 Mar 1917 Theatre Royal, Newcastle Professional
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'“The Bing Boys are Here!” facetious and clever individuals made their debut at the Theatre Royal in the presence of audience the size of which was only limited by the inelasticity of the walls of the building. Hilarity was the keynote of the entertainment. It can scarcely be claimed that “seeing the sights of London” is an original idea from the dramatist’s point of view, but then the Bing Boys see them with such originality and resource that the plot has many novelties and some surprises. It a jolly, irresponsible, and animated show ... It will be surprising if the Royal has a vacant seat during the remainder of the week’. Newcastle Journal, 13 March 1917.
19 Mar 1917 Theatre Royal, Birmingham Professional
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‘When a piece is built about a trio of personalities of the most distinctive type and it is played without those people it is liable to seem insipid, particularly if the understudies are faithful to the originals, and the first part of “The Bing Boys” at the Theatre Royal last night was tame. But Messrs. Gus Oxley and George Hestor and Miss Joan Hay, in the parts of George Robey, Alfred Lester, and Violet Lorraine, managed to give to the copies a great deal of their own vitality, and the second half the piece plainly justified the encomiums of the London Press on “The Bing Boys,” which is neither revue nor musical comedy, but a good deal of both with a large admixture of the cleverness of the trio of players just mentioned'. Evening Despatch, 20 March 1917.
19 Mar 1917 Royal Court Theatre, Wigan Professional
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‘“The Bing Boys Are Here.” Attraction at the Royal Court Theatre. Musical plays and comedies and revues are all interesting in turn, and assist in the passing of many pleasant evenings. But one confesses to a feeling that so many are built upon the same plan that the pleasure is somewhat marred by the sure knowledge of what is going to happen in a certain set of circumstances. The leading characters are often taken from a similar mould. But we can assure our readers that “The Bing Boys Are Here” provides a most refreshing change, and something quite novel and unlooked for may be seen. A combination between musical comedy and revue has been struck, bright and new ideas have been introduced, and the work of the ladies of the chorus has been raised to a point where it differs very little in importance from that of many of the principals'. Wigan Observer and District Advertiser, 20 March 1917.
26 Mar 1917 New Theatre, Cardiff Professional
26 Mar 1917 Borough Theatre, Stratford Professional
7 Apr 1917 Opera House, Leicester Professional
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Advertised in the Leicester Daily Post, 27 and 31 March and 4 April 1917: to be performed from Saturday 7 April for seven nights and one matinee on Saturday 14 April.
9 Apr 1917 Hippodrome, Hulme, Manchester Professional
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‘“The Bing Boys are Here” is fully justifying its extended stay, and the high reputation of the show is being well maintained. The big people in the production, including’ George Hestor and George [sic] Oxley as the “boys,” get any amount of exhilaration out of the material, and the audiences are exceedingly well served’. Manchester Evening News, 17 April 1917.
30 Apr 1917 Empire, Wood Green Professional
7 May 1917 Empire, Chiswick Professional