Great War Theatre

Examiner of Plays' Summary:

In essence this ‘romantic melodrama’ which has nothing to do with Meredith’s oval, is simply sentimental melodrama but it is much better written than such things usually are and it is not at all a bad play in its way. Captain Desmond is in love with Helen, daughter of Sir Charles Pryor, and she with him. Unfortunately Esmond, when a mere boy, had in a frolic gone through a form of scotch marriage with a girl, Jenny, who left him immediately afterwards and who he hopes is dead. Now, Major Callaw, villain, also wishes to marry Helen. Callow has shown gross cowardice during the retreat from Mons, thereby nearly causing the annihilation of Desmond (who won the VC) and his men. The only witness of his cowardice was Lieut. Raison believed to be dead, but Desmond has a document signed by him. He gives this up to Callaw, on the latter’s consenting to resign his commission. At the end of act II Helen, being persecuted by the attentions of callow and her father’s siding with him, goes to Desmond’s quarters. He tells her about Jenny, but she says she will stay with him in spite of all. It appears, however, in the next act that she did not spend the night with him (to my relief) but went on to the house of a woman friend. Desmond and Helen chance the existence of Jenny and get married. Callaw, however by accident has discovered that she lives and produces her: she is a dipsomaniac and goes mad on the spot. The colonel of the regiment holds a private enquiry into Callaw’s cowardice, who is turning the tables on the oer, Esmond, when Rawson, the witness, providentially found, turns up. Callaw, faced with the alternatives of court martial or suicide, fires into the barrack yard and shoots raison; he goes on firing and the soldiers, thinking him mad, fire a volley and kill him. Jenny, in the excitement, throws herself from a window and dies, leaving the way clear to Desmond and Helen. The cowardice etc. of an office are undesirable, but as the play is an all about soldiers the villain is necessarily one too, and it can hardly be prevented. There is nothing, in a general way, at all derogatory to the service. But I have marked, act 1, p43, a remark about commissions being given to counter jumpers. It is made by the villain, to be sure, but even so it is a pity. Jenny’s dipsomania and madness will be unpleasant, but with many precedents recommended for license. G. S. Street

Researcher's Summary:

A second version of this play was written in 1918 and licensed on 13 June 1918. For performances of that play see - https://www.greatwartheatre.org.uk/plays/script/2639/

Licensed On: 29 Aug 1916

License Number: 426

Author(s):

British Library Reference: LCP1916/20

British Library Classmark: Add MS 66141 G

Performances

Date Theatre Type
4 Sep 1916 Theatre Royal, Castleford Professional Licensed Performance
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Performed for the week by a cast including George Carlton Wallace, Evelyn Carleton and company.
11 Sep 1916 Rotunda, Liverpool Professional
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Performed for the week, twice nightly at 6.50pm and 9.00pm with a matinee Wednesday at 2.30 pm. Cast included Charles Kean, G. Carlton Wallace, H. Elliott-Ball, F. B. Woulfe, Donovan Maule, Chas McColl, H. Wheatman, Frank Dunlop, Edie Martin, Dora Price, Denise Paule, Molly Hayden, Evelyn Carleton. 'The whole company from top to bottom is excellent. Full 'houses' should be the order for the remainder of the week' (Liverpool Echo, 12 September 1916). 'A large audience received the above play with distinct approval [...] The story is a plainly told and deeply interesting one.' (Era, 13 September 1916)
18 Sep 1916 Theatre Royal, Middlesbrough Professional
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Performed twice nightly (6.50 and 9) for the week with cast including G. Carlton Wallace performing as Clive Esmond.
2 Oct 1916 Metropole Theatre, Glasgow Professional
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Performed for the week.
9 Oct 1916 New Prince's, Blackburn Professional
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Performed for the week.
16 Oct 1916 Palace Theatre, Rochdale Professional
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Performed for the week.
23 Oct 1916 Hippodrome, Huddersfield Professional
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Performed for the week.
30 Oct 1916 Grand Theatre, Doncaster Professional
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Performed for the week.
6 Nov 1916 Prince's Theatre, Bradford Professional
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Performed for the week.
27 Nov 1916 Queen's Theatre, Leeds Professional
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Performed Monday, Tuesday, Friday and Saturday at 7 and 9pm. 'The Enemy in our Midst' being performed Wednesday (including matinee) and Thursday.
4 Dec 1916 Alexandra Theatre, Birmingham Professional
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Performed for the week, twice nightly at 6.50 and 9pm with matinee Wednesday 2.30. Cast included G. Carlton Wallace, Evelyn Carlton, Ray Fortescue, Lydia Mannington, Frederick Scarth, Gertie Henderson, R. Harrold, Phyllis Evelyn, and Rob Anderson. 'Thrilling situations are provided, while humour comes to the relief of the more intense parts of the drama. The play has appropriately a strong military aspect' (Birmingham Daily Post 5 December 1916)
1 Jan 1917 Alexandra Theatre, Hull Professional
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Performed twice nightly for the week.
15 Jan 1917 Empire Theatre, Ardwick, Manchester Professional
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Performed for the week.
25 Jun 1917 Theatre and Opera House, Cheltenham Professional
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Carlton Wallace's company was engaged for a month at the theatre, and this was extended a further two weeks in which they would perform 'East Lynne' as well as 'The Amazing Marriage'. (Gloucestershire Echo, 23 June 1917)
10 Sep 1917 Royalty Theatre, Barrow-in-Furness Professional
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Performed for the week.
10 Dec 1917 Theatre Royal, South Shields Professional
29 Apr 1918 Theatre Royal, Sunderland Professional
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Performed for the week twice nightly, (6.40 and 8.40) by Albert Sember's company.